Design and Functionality

The MW200 is a neckband Bluetooth cable that allows you to convert your MMCX earphones into a Bluetooth set. It’s a flexible rubber neckband with solid plastic end parts that house the electronics and controls, these are finished with a tempered glass faceplate. It’s a well built, and good looking neckband that is also comfortable in use. The cable sections I feel are a little too long though, and could have about 3-4cm cut off without hindering the fit. The cable section has moulded ear hooks so it is for use with earphones that fit over-ear rather than straight down.

Feature wise you get full controls on the left side of the MW200, with volume controls (these are separate from the sources volume), play/pause and on/off. You can also use the play/pause to skip tracks, and there is a microphone on the unit for calls. The MW200 supports all the latest Bluetooth codecs for the highest quality Bluetooth playback (Aptx and LDAC etc…). The MW200 paired easily and the range seems very good, battery life is also great at up to 11hrs in LDAC mode and 14 in SBC. There is plenty of volume to power most IEM’s currently on the market too.

Sound

I’ve mainly been using the MW200 with Final’s flagship IEM the A8000, because they really are ruthlessly revealing of the source material and also enjoy a bit of power behind them. I’m glad to report that the MW200 doesn’t have any problems with noise, and there isn’t any noticeable hiss when using it. I will mention that I have also been using it with LDAC from my Pixel 3a using Qobuz streaming.

The MW200 has good power and volume, there is plenty of detail and an overall crisp and clean sound. Of course, Bluetooth is still limited and there was a drop in resolution over playing the A8000 out of a high-end DAP. However when out and about this drop is not as noticeable as when critically listening, and the MW200 does a truly great job at decoding and amplifying the signal. I was really testing the limits of the MW200 by using it with the A8000, but pair it with something a bit more affordable like the Oriveti OH300 and you get a superb sounding wireless setup for under £500. Much better than any current wireless offering on the market at least.

The MW200 really doesn’t impart much of it’s own sound on to the IEM’s of choice, which is great in my opinion, you can get the Shanling app though which includes an EQ. This EQ does not work when using LDAC codec though. If you are used to using your IEM’s with an excellent source, please remember there will be slightly lower resolution, mostly in the treble region, again this is more a limitation of Bluetooth and not necessarily the MW200’s fault.

The post Shanling MW200 Review appeared first on HiFiheadphones.

Aesthetics and Build Quality:

The B3 have a really interesting aesthetic, with sharp geometrics on the outside, yet rounded and smooth inner lines for comfort. Their matte silver finish looks great with the gold screws and chrome connector barrels. They have a very unique styling, and one that will stand out in the crowd, yet the colour scheme is fairly low key on the B3 (unlike the B1 which we will cover at a later date).

Build quality is superb, Final know how to make a solid IEM and the B3 are no different, although they are going a step further with the new models by including a detachable MMCX connector cable. The cable is silver-plated copper with excellent strain relief, along with great ergonomics and a shiny finish. Everything about the B3 feels solid and well built, I can’t find a fault with the build.

Comfort and Isolation:

The B3’s inner edges are curved and they fit like a glove in my ears, I personally have awkward ear canals and the B3 are one of the best fitting universal models I’ve ever tried. I can imagine that most users will find them to fit snugly with excellent comfort. The fact they don’t have stiff memory wire really helps too, as the cable effortlessly fits over your ear.

Isolation is good, not top levels due to these having a vent (even though they use BA drivers). They block out enough outside noise for general daily use and commuting duties.

Sound:

Bass: The B3 use 2 balanced armature drivers, this is something a bit different as Final used to only use single drivers. The B3 are somewhat of a fuller sounding BA driver earphone, with great depth and extension down low. The lows have excellent texture to them, they don’t have the sheer slam of some dynamic based models but they have great control and fullness that make them a pleasure to listen to. In terms of balance the lows are quite linear with no specific focus on mid or sub-bass, having good punch that is backed up with rumble and body. The low end is slightly thick, yet well controlled and punchy.

Midrange: The B3 have a mild U-shaped sound signature, but vocals have a way of being very well separated within the soundstage. They don’t jump out at you; however, they have great clarity and refinement. Tonality is excellent here, the lower midrange has enough body to sound realistic, yet the upper midrange has a slight lift to bring out a little air without becoming shouty or grating. Overall the midrange has a good level of accuracy, if not ever so slightly behind the lows and highs in absolute presence.

Treble: The treble is nice and detailed with great air and extension, the transition from the upper midrange to the treble is smooth and sibilance free. There is a slight boost in the lower treble which brings out a little extra energy however the overall presentation isn’t bright. It’s the air and extension that is most impressive up top, along with the fact they they have accurate tonality in the treble.

The soundstaging is really impressive, throwing out a wide soundstage with excellent separation and accurate imaging. The B3 really do excel when it comes to presenting a wide and accurate soundstage, never sounding congested or too up front.

Conclusion:

The B3 are one of those IEM’s that shows driver count is not as important as how you tune the sound. With only 2 drivers, the B3 has excellent top to bottom extension, a wide soundstage, coherency and transparency with a little added energy. They are a great all-rounder with a fairly well-balanced sound and an easy to listen sound that is engaging yet surprisingly accurate.

Sound:  4/5

Comfort: 5/5

Build: 4/5

Value: 4/5

The post Final B3 Dual BA Earphone Review appeared first on HiFiheadphones.

Aesthetics and Build Quality:

IEM build quality is really on the rise, and the Rai Penta show off how good well CNC machined shells can look. The Campfire Audio line-up have been using this technology for a while and they have their own twist on styling, whereas Meze have gone for a more rounded look with an understated colour scheme.

The detail on the shells is incredible and you can see a lot of work has gone in to getting the finish as flawless as possible. The small vent for the dynamic driver is a work of art and these feel and look very premium.

Build quality is very good as you would expect, the shells being made out of aluminium are solid and sturdy, the MMCX connectors are tight and rhodium plated for durability. The cable is silver plated copper, with a high strand count helping with ergonomics. You can see the solder joints in the clear MMCX connector strain relief which is a nice touch. The 3.5mm jack is also rhodium plated, and there is good strain relief all round.

Comfort and Isolation:

The Rai Penta has a very ergonomic housing with rounded edges and a soft and flexible cable, this all leads to a very comfortable fit. Once you find the right size tips, you can leave these in and forget about them, they should fit most people’s ears well.

The Rai Penta are vented due to the use of a dynamic driver, this means there is no driver flex but the isolation is affected a little. They don’t leak, but isolation is not quite as good as fully sealed BA based designs.

Sound:

Bass: The lows on the Rai Penta has very impressive reach and linearity down low, they hit with authority yet extend without rolling off early. You can easily hear the sub-bass however it is not boosted and only comes out when it’s in the recording. They are very transparent and revealing and will bring out the bass when called for, they do however remain incredibly well controlled at all times and never sound congested or slow. The lows have the ability to be full when needed without affecting the midrange at all, and as they are so transparent the amount of body will change depending on the source.

Midrange: The midrange is remarkably well controlled and the lows never bleed in to the lower midrange. This leaves male vocals to cut through with excellent clarity and layering without added body congesting the sound. The tonality is spot on though and the Rai Penta are never lacking in natural timbre. Both male and female vocals excel with perfect presence, falling perfectly in line with the rest of the frequency response. It doesn’t matter how busy the mix gets, the midrange cuts through and is never left behind.

Treble: The highs extend effortlessly into the black background of the Rai Penta, yet they have great impact and energy without distortion or fatigue inducing peaks. The transition from the midrange to the treble is smooth with no emphasis so they are devoid of sibilance unless it is in the recording. The highs do nothing wrong, perfectly aligned with the bass and mids, they add great air and openness to the sound. Getting rid of sound tubes, and using CNC machining for the sound bores goes a long way in helping the high frequencies breathe and sound as open as these do. They don’t quite reach Andromeda levels of presence and air, but they are not lacking by any stretch.

The soundstaging is very good, with great depth and impressive width as you would expect for the price. Separation is a real strong point due to how controlled the Rai Penta sound, they never lag or sound congested no matter how busy the track gets.

Conclusion:

There are so many great models out at the moment that it is hard to pick which are best and thus we always recommend listening before purchasing. What the Rai Penta delivers are impressive dynamics and a level playing field for all the frequencies. Their transparency allows them to play well with all genres and bring out the best in all of them, it is not a jack of all trades, master of none experience either. Even at low volumes you get the full range and impressive dynamics, yet play them a little louder and they hold the same signature with nothing stepping out of line. The Rai Penta is a high-end IEM in all aspects, and delivers a balanced yet musical and natural listening experience.

Sound:  4/5

Comfort: 5/5

Build: 5/5

Value: 4/5

The post Meze Rai Penta 5 Driver Hybrid Earphone Review appeared first on HiFiheadphones.

Aesthetics and Build Quality:

The PurePlay Z3 (formerly known as TEVI) are a smooth and discreet, nothing really stands out on them with a small logo and silver trim ring on the faceplate. They smooth black finish looks great, there is a slight difference in colour between the 2 sections of the body but it doesn’t detract from the overall look.

Build quality is excellent, the joins in the housings are very smooth and they are finished to a high standard. The charging case is fabric coated and solid, and the buttons on the faceplates have a very positive click. Overall everything feels very well put together and durable for long term use. They are also IPX7 rated which means they are fine for your daily run and gym use.

Features:

The PurePlay Z3 use the latest Bluetooth 5.0 technology along with support for aptX, AAC and SBC codecs. Pair them with an aptX compatible device and you’ll get slightly better sound quality of course, but AAC also sounds very good.

The controls are easy to learn and intuitive, two click on the right to increase volume, two on the left to decrease. Three clicks on the right to skip track forward, three on the left to skip backwards. Single tap on either will pause the music, and a 2s press on the left will bring up Siri/Google assistant. You can also pick up calls and there are built in microphones that work very well.

Battery is rated at 10hrs per charge (SBC 50% volume), and I would say that figure is quite accurate from testing, using aptX will decrease this slightly but the increase in sound quality is worth the trade-off. The charging case supports another 6 whole charges, making these very impressive compared to the current competition.

Connectivity and signal stability are excellent, they pair easily and only cut out if you go out of range or add objects within the transmitting path (walls etc..). Overall, they work as advertised and don’t cut out if your phone is in your pocket or within a reasonable distance.

Comfort and Isolation:

The shape of the PurePlay Z3 is ergonomic with soft rounded edges and the perfect angle nozzle to provide a comfortable and secure fit without sticking out too far. The housings are a little on the larger size, but they never feel cumbersome when in use.

Isolation is pretty good; they do a very reasonable job at muting outside noises and are perfect for daily use and commuting.

Sound:

Bass: The bass on the PurePlay Z3 is full yet well controlled, it has a way of adding body without becoming the centre of attention. In terms of presence they are slightly north of neutral but they always sound very well balanced. There is good extension and kicks are backed up with body. The lows really are impressive, preventing the PurePlay Z3 from sounding thin but without making them sound bloated. They handle most genres with ease and have good articulation, lacking only a little speed during complex mixes.

Midrange: The lows are slightly north of neutral in terms of presence, but this does not mask the midrange and make vocals sound pushed back or congested. The midrange is well separated, lower male vocals do have a tiny bit of added body, and female vocals cut through with a little more detail but the overall midrange performance is very well balanced. Most consumer true wireless models have a habit of boosting the bass and treble, whereas the PurePlay Z3 comes across a lot more even handed and more suitable for a wide range of genres. There is great separation and layering, yet the coherency between frequencies is also excellent.

Treble: The treble is slightly laid back but luckily there is enough presence to prevent the PurePlay Z3 from sounding overly dark. The thing about the treble is that the tonality is just right, they don’t sound splashy or metallic and have great extension and detail. They have good accuracy when it comes to imaging too and they fit well into the frequency range. I would never call these bright though, and the treble is smooth enough that even the most treble sensitive users won’t have any issues with fatigue.

Soundstaging is good, not huge but very acceptable as most TW earphones sound very closed in. The detail present here is excellent and the separation between instruments is great.

Conclusion:

The PurePlay Z3 are very impressive, especially considering their sub £100 price point. Offering up a smooth and detailed sound signature that is well balanced yet slightly full. Add to that great stability and functionality and you have a TW earphone that is so easy to recommend, go out and grab one now as they are a game changer in the TW market.

Sound: 5/5

Comfort:5/5

Features: 5/5

Value: 5/5

The post Lypertek PurePlay Z3 True Wireless Earphone Review appeared first on HiFiheadphones.

Aesthetics and Build Quality:

Much like all other Campfire models, the Polaris are a thing of beauty. The precision CNC’s machined housings look perfect, the blue really does stand out against the black screws and smoky cable. Even the case compliments the colour scheme. Campfire, in my opinion, make some of the best-looking IEM’s out there.

Build quality is another strong point, the metal housings are perfectly finished, and the MMCX sockets are some of the best I have ever come across. The cable is a silver plated litz cable that is twisted, with good strain relief on the 3.5mm angled jack. I can see the anodised finish showing scratches in the long run, but I personally find that adds character to them.

Comfort and Isolation:

The housings may look uncomfortable but the inner sides have softer edges and once you find the right tips the Polaris are incredibly secure and comfortable to use. I found them to fit and sound best with foam tips, but this is down to personal preference. The cable now uses pre-moulded ear-hooks which I find to sit much better than stiff memory wire, it’s great to see more brands using this. My one tiny gripe here is driver flex, which is quite present when you first insert them.

Isolation is very good, perfect for daily use and commuting, even though the housing is vented for the dynamic driver, I don’t find this impacting isolation much.

Sound:

Bass: This is the part that is immediately noticeable when you first try the Polaris, and for good reason. These are made to deliver a very full and powerful sound, and they do that without fault. The bass carries real weight and impact, you feel as well as hear the notes. The bass may be the prominent frequency band on these, but they do this without totally masking the rest of the frequency response. They are not a dark, bloated mess, yet they still have a bass-heavy signature which is very impressive and a lot of fun. The sheer weight and power of the low end is quite astonishing, yet it manages to steer clear from masking the mid-range too much, only giving the lower midrange a hint of warmth.

Midrange: The midrange is clear and detailed, yet does come across a little behind the bass in terms of absolute presence. The lows do give a little body to the lower midrange, but the upper midrange is quite up front. The transition from the upper midrange to the lower treble is not the smoothest, bringing out a bit of sibilance in the recording. They do not suffer badly from sibilance, but it is there nonetheless, and more present than a few other IEM’s that are a little smoother. The Polaris trade off a little refinement for fun factor, and I honestly am fine with that. They are engaging, the midrange is clear and well defined, especially when you compare it to the bass.

Treble: Due to the T.A.E.C technology, the Polaris has an incredibly open and airy top end. The treble extends effortlessly with excellent tonality and presence, however is it not peaky or harsh. The openness of the top end really aids the soundstaging capabilities of the Polaris, offering a really spacious sound that is not congested or closed in. There is plenty of detail up top and the energy is what mainly prevents the Polaris from sounding too dark. I really do enjoy the treble performance of the Polaris, providing the perfect balance between being there and clearly audible, but not bright and overbearing. Campfire don’t need to artificially boost the top end to give a sense of extra detail, because the detail is there and audible.

Conclusion

The Polaris are one hell of an IEM, with a very powerful and engaging sound signature. The bass is there by the bucketload, yet the midrange is detailed and only slightly behind when it comes to presence. The highs are effortlessly extended and packed full of detail, giving them a sense of space and air that really opens the Polaris up. Overall a great buy if you want an engaging and powerful IEM.

Sound:  4/5

Comfort: 5/5

Build: 5/5

Value: 5/5

The post Campfire Audio Polaris 2 Review appeared first on HiFiheadphones.

These 2 new models from Oriveti have just arrived in our office and will be available very soon. Due to the popularity of the New Primacy, we thought we should give you guys a quick first impression of them.

The OH300 is set to replace the New Primacy, sporting a new dynamic driver, along with the familiar dual Knowles balanced armature drivers. The OH500 is the new flagship model, sporting a dynamic driver along with 4 balanced armature drivers. Both come with a new 8-core braided silver-plated copper cable and leather carry case.

Both come with a cleaning tool, airplane adaptor, 3.5mm to 6.3mm adaptor along with an assortment of tips: S, M and L single flange silicone tips in 2 styles, along with 2 pairs of bi-flange tips and 2 pairs of M foam tips. Overall an excellent array of accessories.

Build quality is very impressive, Oriveti have now changed to a resin housing which is super smooth and makes them feel like a really premium product. The new 8-core cable is excellent and feels really durable, along with nice tight MMCX connectors. There really isn’t anything to fault here, both look and feel excellent.

The New Primacy always was quite a sensitive monitor, and these are no different so you may get slight hiss with certain sources, but it should be minimal. Pairing them with a good clean DAP is best though.

Sound:

The OH300 has a more neutral leaning sound signature, with excellent clarity and resolution. These are set to be priced around £300 and for that you get a really superb IEM. The midrange clarity is one of the main things that grabs your attention, with details coming across easily and effortlessly. The lows are tight and controlled but fill out the low end when required. They don’t bleed into the midrange, but they sound more coherent when compared to the New Primacy. These are not lacking when it comes to punch and extension, but they are those who like a bit of extra bass might want to look elsewhere. Up top you get great energy and sparkle, but they are a little less bright when compared to the New Primacy. They sound a little more refined without taking away the extension and detail that the New Primacy was famed for.

The OH500 has a slightly more organic tilt, favouring smoothness and slightly full tonality over a more analytical approach. The OH500 are one of those monitors you can put in and just relax, without missing out on technicalities. On the low end you get more pronounced sub-bass than the OH-300, but still a quick and tight mid-bass region preventing too much bleed into the lower midrange. The sub-bass is powerful and comes out of a black background when called for. The midrange is clean and has excellent layering, but it is presented in a natural way, without being pushed up front. There are no real peaks favouring male or female vocals, and the transition into the treble is incredibly smooth. The treble has a rise in the upper region creating a more airy, refined and extended sound rather than being more energetic and in your face. The soundstaging on the OH500 is truly superb, there is a really excellent sense of space with great placement of instruments.

These 2 models are definitely worth keeping an eye on, with the OH300 giving you a more neutral yet coherent sound, and the OH500 offering up a slightly lush but well extended and detailed sound. Oriveti are one of those brands who know how to tune a great earphone, so the competition better watch out.

The post Oriveti OH300 and OH500 First Impressions appeared first on HiFiheadphones.

Intro

Final is an odd name for a brand which doesn’t stop, but why question it? If looks are anything to go by, the new E4000 and E5000 are very nice indeed; Final has a real knack for creating beautiful, utilitarian designs. We’ll have a listen, and find out if these two can please the ears as well as the eyes!

Design and appearance

The E4000 and E5000 sit atop the current ‘E’ range, which includes the E2000 and E3000 versions. All models in the ‘E’ range include 6.4mm dynamic drivers, but rather than the venting on the backs of the E2000 and E3000 capsules, Final have opted for an ‘acoustic resistor’ in the E4000 and E5000 designs. This promises to control low-midrange frequencies for improved clarity.

The E4000 has black machined aluminium capsules and the E5000 has machined stainless steel, which reduce any unwanted vibrations when compared to plastic housings. The E5000 model has a silver-coated OFC cable which is very nicely put together.

Durability & build quality

Both models look to be solid in terms of build, there is little to say against them. The E4000 cable might benefit from slightly more in the way of strain reliefs, but this is the only criticism we can come up with. Both models are of the sort of quality we’ve come to expect from Final over the years, and a treat to hold in the hand.

Comfort

Again there’s not much to say here; the designs are fairly basic in terms of wearing style. This reviewer has found however that if microphonics are an issue (vibrations travelling up the cable from walking, for example) then the cable can be worn over the ear to absorb some of this energy.

Sound characteristics

The Final E4000 and E5000 may look like brothers; take a listen and they sound like brothers too. The elder sibling E5000 has more maturity and polish, with the younger E4000 giving out more energy. The family resemblance is very strong however, with both giving a very accurate and absorbing presentation.

Bass

The Final E4000 has a good amount of well-textured sub bass if a track has it, while further up there is a certain light swiftness about the mid and upper bass regions. The E4000 is not a bass-light earphone, but it is good at pushing out a decent amount of bass while at the same time giving the midrange all the space it needs. It’s really fun!

The E5000 has a smoother and deeper bass than the E4000. The mid and upper bass frequencies are more present which does impinge on the midrange ‘space’ of the E4000 model a little. If you’re not willing to compromise on the bass presence however and like those bassy studio-produced genres, you’ll not miss it.

Mids

This is where personal tastes may further separate the E4000 and E5000; the E4000 has a lovely amount of space here and an impressive accuracy for the price. It also has a certain quality which presses this reviewer’s buttons; if you’re fond of the distortion from a Rhodes piano, the E4000 is one to definitely check out. There’s a certain buttery quality, but that butter hasn’t been out of the fridge for very long; a slight bump in the upper mids gives a certain coolness but the E4000 never gets near strident territory.

Meanwhile, the E5000 is more reserved and smooth in the mids. With less presence in the upper mids when compared to the lower mids, the E5000 trades litheness for authority and geniality. There is still a butteriness but it’s more gooey in the E5000. If you like genres which are well polished in terms of production, then the E5000 will complement these very well.

Treble

Like the midrange, the Final E4000 and E5000 stick with their personalities up into the higher reaches, with the E4000 giving more in the way of high frequency presence. Again, it’s the more energetic of the two and further lends a sense of space and air to proceedings. The E4000 has incredible resolution and detail; it just adds a bit of stirring edginess to bring out these frequencies nicely.

The E5000 remains the more tactful of the two, with treble which doesn’t draw attention to itself and serves as a smooth midrange extension with no troublesome peaks. Detail is much like with the E4000 model, but it’s more subtle in terms of presence.

Soundstage & Separation

Both models have exceptional soundstage and separation; however as mentioned above the E4000 gives a more immersive feel when it comes to harmonics, due to the sense of space and slightly greater presence of high-mid frequencies.

Music genres good for and why

As already touched on, the differing flavours on offer suit different tastes. Although each model here can be thought of as a good all-rounder, the E4000 is particularly well-suited to acoustic genres and those which benefit from a good sense of space. The E5000 is more for studio genres such as pop and dance music, but this reviewer has caught themselves enjoying pretty much everything with both models!

Pros:

Good looks
Great sound on both models
Replaceable cables
Silver coated OFC cable (E5000)
Versatile wearing style

Cons:

Strain reliefs on E4000

Summary

Final’s new E4000 and E5000 have hit the streets, and after trying both we all have our favourite. Whether you like vibrant energy and space, or if you’re more into smooth and measured sounds, one of these models is sure to please.

The post Review- Final E4000 and E5000 appeared first on HiFiheadphones.

Effect Audio Ares II vs Eros II Comparison Review

If you are having a hard time trying to decide between the Ares II and the Eros II, we have written up a little comparison between the two. You cannot go wrong with either cable.

Aesthetics and Build:

These cables look superb, they finish is perfect and the braid is even, they are an excellent accessory for every on the go audiophile. They are not all about the looks though, the sound offered by both the Eros II and the Ares II is truly excellent for the price.

Both Effect Audio cables are built the same, with excellent quality jacks, a lightweight and slim y-split and soft over ear moulds that are much more comfortable than regular memory wire. The 2-pin connectors are sturdy, and the braid is tight and even, overall an expertly finished product.

Sound:

The Ares II is a lively and fun cable, the lows are still impactful and full but well controlled and not over the top. The midrange retains clarity and is not overshadowed by the slight increase in bass fullness. Where the Ares II goes against the typical copper sound is in the upper midrange/lower treble section, where it injects a little extra spakle and presence.
This makes this cable well detailed, but also fun and engaging to listen to. It pairs well with multiple IEM’s and if you are looking to get into the world of custom cables, the Ares II is the perfect place to start.

The Eros II paints quite a different picture, it leans towards the neutral side of sound and doesn’t go in to change anything drastic about the sound signature. What the Eros II does is increase the air between instruments, adding an extra layer of separation and allows the finer detail to shine through. The Eros II does add a tiny bit of presence in the treble, but it is not what I would consider a brighter sounding cable. The Eros II is clear, transparent and refined with excellent soundstaging.

Conclusion:

So there you have it, two beautiful cables both with different sound signatures. Which will be for you depends on synergy and what differences you want out of your current IEM’s. If you are in need of any cable pairing advice, give us a call!

The post Effect Audio Ares II vs Eros II Comparison Review appeared first on HiFiheadphones.

Optoma Nuforce BE6i – Trendy Transmission

Wireless earphones are commonplace now; so much so, it’s not necessary to draw undue attention to the fact these days. However, it’s nice to see differing styles coming along and the Optoma Nuforce BE6i is a smart addition to this earphone category.

Pros:

• Nice case included
• Many eartips and fitting accessories
• Well tuned for many genres
• Good build

Cons:

• Charging port is a bit fiddly

Design and appearance

First impressions last, and in this case, the impression is definitely of a well-heeled smartness; these are the sort of earphones you can listen to during a job interview. The backs of the capsules are magnetic, so the earphones can be worn securely around the neck between uses.

The design lends itself to the ‘down from the ear’ wearing style so anyone wanting to have the cable going up, over the ear will need to consider an alternative model.

The case is a very practical, semi-rigid affair which is perfect for use with the BE6i.

Durability & build quality

Cable and control/battery construction is good with no obvious weak points. The capsules feel quite solid as well, without being too heavy.

Comfort

There’s not much to say here; once in, the earphones can more or less be forgotten about provided you have a good fit with the supplied eartips and accessories. There’s plenty to play around with, including some ‘fins’ which sit in one of the various folds of the ear and help keep the earphones in place.

Sound characteristics:

The Optoma Nuforce BE6i has a warm sound with a bit of non-intrusive treble presence, good as an all-rounder.

• Bass

Bass has some emphasis, but the BE6i isn’t a bassy model per se. It extends well with good sub-bass at a realistic level and perhaps a bit more of a boost in the mid-bass region.

• Mids

Mids on the BE6i are very clear and unaffected by the bass. Harmonics and other directional cues are well rendered and vocals are sweet and well textured.

• Treble

There is a bit of sparkle about the BE6i; it’s not likely to cause any discomfort though. Cymbals are shimmery without straying into strident territory, and muted trumpets are just raspy enough. Detail here is very good for a wireless model.

• Soundstage & Separation

Lower frequencies benefit from very good separation and give a good impression of bass width; this continues up the frequency spectrum making an impressive presentation for a wireless model. Harmonics are largely preserved, making for an engaging and enjoyable time with the BE6i!

Music genres good for and why

As noted above, the Optoma Nuforce BE6i is a good all-rounder. Some may prefer more bass than the BE6i has to offer, but this depends on previous earphones and expectations. The BE6i is great with current studio music such as pop and rock, with more refined genres such as classical doing very well also since the midrange is so clear.

Summary

The new wireless BE6i from Optoma Nuforce is as smart as it is nice-sounding, giving a good impression of your music and complementing your outfit a treat. With a large range of accessories to get a perfect fit, the BE6i is a superb wireless choice.

The post Optoma Nuforce BE6i – Trendy Transmission appeared first on HiFiheadphones.

Etymotic ER3-SE and ER3-XR Review

Not content with the splash it’s made with its updated ER4 designs of late, Etymotic is back with more! Or is it less? The ER3 models cost a good chunk less than their ER4 counterparts, so what does this mean in terms of value?

Pros:

• Classic Etys for the price
• Removable cable
• Crystal clarity
• Carry case

Cons:

• Basic selection of tips
• Etymotic deep fit not for everyone

Design and appearance

The ER3 versions are slightly more sensitive than the ER4 versions, with half the impedance too. This may have been done with an eye on the portable market, where some handsets may have struggled to get up to a good volume with the ER4 type.

Accessories are minimal with the ER3-SE and ER3-XR; along with the earphones themselves, we get a case and three pairs of tips. The two sizes of Etymotic triple flange, and a pair of ER38-14F type foam eartips.

Durability & build quality

The capsules are the most obvious change, with plastic-coated aluminium being used instead of the glossy metal look of the ER4. The cable has a good strong, but pliable feel to it, but it is a bit thinner and is not braided at the top. Apart from the slightly lighter weight and less glossy look of the ER3-version capsules, things are much as we’d expect from the ER4-XR and ER4-SR.

Comfort

No change here; Etymotics need to be inserted deeply to be at their best, and people either love the isolation they bring or hate the deep insertion of the eartips. Fortunately we love the isolation enough to ignore any initial discomfort, and the eartips seem to settle into place after a few seconds.

Sound characteristics:

Like the ER4 designs, there are two flavours of ER3. The Etymotic ER3-SE is the more strait-laced and neutral of the two, with the ER3-XR giving a little more bass warmth. Both however sound a little more gentle in terms of the midrange than their ER4 brethren. Where we sometimes get the feeling of jeopardy with the ER4 models, with an errant xylophone or female vocalist threatening to poke us in the ear, the ER3 versions are a little more laid back. Etymotic’s clarity has not been sacrificed though; the midrange presence is just a little more humane.

Bass

Sub bass on the ER3-SE gives a nice bit of wobble which is low in the mix, but there alright. The rest of the bass is as well controlled as expected, but understated; bass junkies need not apply. There’s some great control here though. Meanwhile, the ER3-XR has more of that skull-rattling sub bass and more slam generally. We’re still not in basshead territory, but if you like your sound a little warmer with more weight given to cellos and drums then the ER3-XR may be for you.

Mids

Mids are always a treat as far as Etymotic’s offerings are concerned, and the ER3-SE does not disappoint. While the midrange level is slightly lowered when compared to the ER4-SR, all the other attractive features are there along with a wonderful sense of spaciousness. Details are well rendered, though not with the sharp relief of the ER4-SR. Many will feel the ER3-SE has more comfortable sound when compared to the ER4-SR in terms of the sound, but with all its harmonic and spatial treats largely intact.

With the ER3-XR the extra bass presence vies for attention along with the midrange, so the midrange seems to lose its power slightly. The spaciousness of the ER3-SE is tempered, and the extra bass warmth takes its place. The ER3-XR is still excellent when it comes to midrange action and detail, but is arguably the better all-rounder of the two as the tuning works well with genres such as modern dance music.

Treble

The ER3-SE does not sound treble-heavy but there is some nice extension up top. If your recordings were made on analogue tape, you’ll probably know about it from the tape hiss coming through. Treble is at around the same level as the midrange after a smooth transition, and consequently does its job well whilst keeping the midrange in the spotlight.

The ER3-XR has the same treble presence as the ER3-SE, but the fatter low end gives the tuning a warmer feel.

Soundstage & Separation

With the detail and midrange clarity on offer from both these models, we can say that both soundstage and separation are a treat. The sound has a nice ‘out of the head’ feel without seeming unnatural and with good depth too. Separation and imaging are near perfect, if a bit toned down when compared to the dazzling ER4 designs.

Music genres good for and why

The ER3-SE is a great choice for acoustic music, classical and opera. With modern pop and dance genres, it can depend on your sensitivity to the upper midrange frequencies as to whether they work or not, along with your taste for bass. The ER3-XR is good for any genre you can throw at it, and we went through many!

Summary

Etymotic’s ER4 models are now available for cheap (albeit under the ER3 moniker), but their character is largely intact. Those who like to hear the smallest thing within their music needn’t study the fine print of credit card agreements in order to afford the ER3-SE and ER3-XR.

The post Etymotic ER3-SE and ER3-XR Earphone Review appeared first on HiFiheadphones.

Whizzer A15 Earphone Review

The Whizzer A15 are well worth considering for their £69.99 price; detailed and fun sounding, with great build quality make them a winner.

Pros:

• Well balanced
• Detailed
• Separation
• Soundstage

Cons

• Highs are not the most refined
• Cable is a little thin (replaceable)

Aesthetics, Build Quality and Accessories

The Whizzer A15 is an interesting IEM, with a brushed metal outer shell and the company logo stamped in black on it. They look and feel excellent for the price and have a nice slim profile.

Build quality is very good, especially considering the price. The outer housing is metal, the cable has a soft and flexible section of memory wire and is sheathed in fabric below the y-split. The cable is detachable and uses the popular MMCX connection, so you can use aftermarket cables should you wish. The cable has good strain relief, my only concern is it is a little on the thin side where it enters the section of memory wire.

Accessory wise you get plenty of added extras, first off you get a nice faux leather carry pouch which is small and perfect for storing the IEM’s in. Next you get a metal tip holder with a variety of ear-tips. You get S, M and L in 2 different types of single flange tips, and also a pair of S and L foam tips. The A15 have removable dust filters, and come with a pair of tweezers to remove the old foam, and 5 pairs of new foam filters. Overall everything you need is included, along with some bonus extras.

Comfort, Isolation, Cable noise and Driver flex

The A15 are really comfy, the housing has no sharp edges and the memory wire is supple and easy to shape. Once in they are secure and comfortable for all round usage. I do find the angle of the cable does slightly push them out of your ear and foam tips offer a more secure fit.

Isolation is quite average on the A15, due to the large vent on the inside of the housing. They would be fine for most general usage, but if you are looking to block out loud noises, a fully sealed IEM would be better.

Cable noise is not an issue due to the behind the ear cable routing.

Driver flex is not an issue, I believe this is due to the venting of the housing.

Sound

Bass

The A15 are tuned for fun listening, with a strong and punchy low end but without excess or bloat. The bass will satisfy most people and lends its hand to all genres well. The bass is well controlled; during rock tracks bass guitars are easy to follow, and kick drums hit with authority and good body. Acoustic has excellent body and warmth with good tonality, and EDM is just fun and energetic. The bass does not bleed into the midrange, and extends right down to the sub-bass regions with ease.

Midrange

The midrange has excellent bite and clarity, as stated the bass does not cause excessive warmth to the midrange adding only a hint of warmth to the lower midrange. The midrange is also not pushed back in the mix which can happen with some of the more fun sounding headphones out there. A highlight of the midrange is the air and separation, allowing everything to shine through with delicacy and detail. Luckily there isn’t an upper midrange peak, allowing them to be fatigue free with no sibilance.

Treble

The treble is well presented in the mix, not being subdued or left behind. There is a slight peak which gives greater presence to the lower treble region and they don’t quite extend as effortlessly as some more expensive models. But putting them up against similarly priced models, you will find these sound more complete than the usual warm bassy sound of others. Initial cymbal hits have excellent energy but are not sharp, and do not become too bright and fatiguing.

Instrument separation is excellent, the A15 never becomes congested through faster more complex tracks, and the soundstage is above average with great width. Imaging is convincing with good spatial cues and directionality.

Conclusion

The Whizzer A15 lends its hand to all music, and does a great job at being a good all rounder. Stick on some rock and they are energetic and fun, well recorded acoutstic and you can hear subtle detail and warmth. Presenting a well balanced sound across the frequency range, the A15 is a well built IEM for the price with excellent sound to boot.

The post Whizzer A15 Earphone Review appeared first on HiFiheadphones.

Sennheiser IE80S – An Old Classic Reborn

Sennheiser is a company which seems to have painted itself into a corner in recent years; how do they improve on the models they’ve had on sale for the past few years? It’s either a testament to their design teams of years past, or a damning indictment of the design team they have now. They’re recycling old designs, and adding an ‘S’ so we can’t pluralise without causing confusion. What trickery is this?

Pros:

• Nice warm sound
• Good assortment of tips and accessories
• Carry case

Cons:

• Could have more midrange clarity
• Straight jack on cable

Design and appearance

A new version of an old classic is simple enough to achieve; round off the corners a bit more and you’re done! There’s probably more to it than that, but this new IE80S bears more than a passing resemblance to the original IE80. However it’s a good look, and Sennheiser obviously knows that it’s not necessary to have flashy designs or gimmicks to impress their fans.

The supplied case is sturdy and sleek, with a non-removeable foam insert which houses the earphones when not in use. Also there are plenty of eartips and accessories, such as a pair of earhooks if your cable keeps popping over your ears.

Durability & build quality

There’s nothing bad to write here, the Sennheiser IE80S is as expected with excellent build quality. The jack on the cable is a straight one which may be a problem for some; if you want a right-angle jack then spare cables for the IE80 will fit just as well.

Sound characteristics:

The tuning is what we expect from Sennheiser; there’s no drastic departure from the typical Sennheiser sound which is warm, with a smattering of treble to keep things interesting but staying comfortable.

Bass

Bass is fairly plentiful and should please lightweight bassheads; however the dials on the sides of the capsules can be adjusted to give a bit more grunt. Control is pretty good, but where it’s loose it feels as if that’s the way it should be. It’s loose with a touch of panache! Subbass is quite powerful if it’s in the music, and you’ll be in no doubt

Mids

The level of the midrange is lower than the bass, but pretty clear and enjoyable nonetheless. Harmonics are clear enough and there is no congestion here, but there is the feeling that the IE80S could do better; at least with the supplied eartips. Aftermarket eartips (such as Blackbird) seem to improve things in this regard.

Treble

Treble is gentle; we’re fond of a warmer sound but the IE80S still takes some getting used to. If you’re a fan of an airy, shimmery sort of presentation then the IE80S is not for you. If however you’re a fan of laid-back music then the IE80S is a contender. Plenty of detail is present though; it comes across as an extension of the midrange with a smooth transition.

Soundstage & Separation

Soundstage on the IE80S is pretty good for an IEM but there’s a lack of depth to the sound, apart from the bass which appears to spread out in front of the listener. Separation is good, but limited with the supplied tips. If you’re splashing out on the IE80S, then try some tips such as Blackbird or Spinfit.

Music genres good for and why

Due to the bass presence, the IE80S is best suited to dance music, pop and rap. Fans of classical, jazz and opera may still enjoy those genres with the IE80S but they will likely miss the airiness and the reverb ‘feel’ of the space the recording was made in.

Summary

Sennheiser’s souped-up IE80 design is here, and it’s an enjoyable listen for many modern genres but some may find the sound lacking air and space for genres such as classical.

The post Sennheiser IE80s Earphone Review appeared first on HiFiheadphones.

Effect Audio Horus Review – Fit for a King

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.

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READ MORE: Effect Audio Thor Silver II Review

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Sound:

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.

The post Effect Audio Horus Review – Fit for a King appeared first on HiFiheadphones.

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.

The post Etymotic ER4XR – Review – Microscopes for the Ears appeared first on HiFiheadphones.

Best In Ear Headphones Of 2016

Our audio gurus have collected the best in0-ear headphones from under £50 to over £500 in 2016 and reviewed them all to help you choose. From established brands like Shure, RHA and Sennheiser, to new kids on the block like DUNU and FIDUE and DITA, below you can check out our best rated headphones from the year so far.

Scroll down for reviews of our favourite in-ear headphones this year so far.

Shop: Visit our in-ear earphones store

More Info: Best full size headphones of 2015

— Scroll to the bottom of this page to watch the video

Best In Ear Headphones Under £50

First in this year’s line-up is the Dunu Detonator, perhaps to reflect the explosion of interest in earphones..

They’re bassy, with a clear midrange and warm treble where perhaps some detail is exchanged for a vibrant sound and a low price. They come with a microphone for taking those important calls, and will suit anyone who is new to earphones other than the generic ones you receive with your new phone.

Being good all-rounders, there is ample scope for the SoundMAGIC E50 to be enjoyed with all genres but the relatively flat response or neutrality of the E50 makes it a perfect earphone for vocals; particularly when accompanied by backing vocals. Percussion gets a nice lift also, as does any distortion effect.

Our full review can be found here: SoundMAGIC E50S In Ear Headphone Review

The A65 gives the impression of a long-lasting earphone which will be a solid performer for a good long while. As for their sound, rock music should be mentioned first as the exceptional midrange is perfect for guitars and vocals. Pop, dance and hip-hop are also well served, with an expansive bass and good detail without any danger of sibilance to get in the way.

Our full review can be found here: Fidue A65 In Ear Headphone

Best In Ear Headphones Under £100

Shure’s SE215 is the oldest design in our line-up, being released in early 2011. However it’s still popular, which means it hits the spot with a great many earphones fans. Styled for on-stage performers, the cable goes over the top, and down the back of the ears. Bass is plentiful and powerful, with midrange and treble more laid back; but still a very fun-sounding model.

Fidue’s new A73 shows that IEMs under £100 are facing challenges unthought of until recent times – there’s fierce competition within the fertile £50 – £100 section of the market and it’s getting better all the time.

The Fidue A73 can do it all, however dance genres can be enhanced very well with the tremendous bass response. Also rap music and pop for the same reasons. Older pop also does very well on the A73 with the clear midrange offering a crisp presentation of tracks which are 50 years old, further enhanced by the clear reproduction of reverb equipment and compressors which were used back in the day.

Our full review can be found here: Fidue A73 In Ear Headphone Review

Best In Ear Headphones Under £200

These great Bluetooth in-ears will give wire-free piece of mind for those with boundless energy. Designed to stay in the ear with the help of supplied ear fins, they should remain in place during the most strenuous workouts. The sound is well implemented with a well controlled impactful bass, a midrange which is present and clear and a treble which is detailed but smooth so your ears don’t get fatigued along with you!

If you fancy a glint in your ear as well as your eye, the T20 from Glasgow-based RHA has a lot to offer. Both the build quality and the sound are solid.  The T20 was tried with a varied range of genres and does well with them all. They are as good with dance as they are with rock music with a good balance between bass presence and midrange action. Soundstage and separation prowess also lets genres such as jazz and classical shine. The T20 is a worthy successor to the T10, with several sonic improvements.

Our full review can be found here: RHA T20 In Ear Headphone Review

Best In Ear Headphones Over £300

Soundstage and separation are as good as I’ve heard from a BA in-ear model, and the added clarity in the AF180 makes the space portrayed in the music very lifelike. Bass is just right in terms of power and placement – sub bass is present and gives just enough without threatening to take over. Mids are sharp and edgy but not breaking into a sweat, there is an air of effortlessness here. Detail is brought out and reverb decays can be followed right to the end, clearly heard within the mix.

Another of our favourite models, Dita’s ‘The Answer’ doesn’t wait for any questions, and gets straight on with providing some truly immersive sounds. Bass is rich and weighty, with an astonishing midrange. Treble is smooth but with clear and crisp detail, making for a wide soundstage with fantastic imaging.

Unlike the more neutral Final Audio Heaven VII, the Heaven VIII is tuned with a richer and more vibrant frequency response for a lusher sound. Like all of the Heaven range, there’s virtually no stridence or discomfort for sensitive ears, but detail is reproduced with no compromise. Bass is fully represented (thanks to Final Audio’s ‘BAM’ technology) without getting too big for its boots, midrange is crystal clear and uncluttered, with treble as smooth as silk, yet superbly detailed.

Our full review can be found here: Final Heaven VIII In Ear Headphone Review

John from the sales team gives you a visual rundown of our top 10 best in ear headphones 2016:

The post Best in-ear headphones to buy in 2016 – Expert Reviews appeared first on HiFiheadphones.

Intro:

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.

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

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.

The post Fidue A73 Hybrid IEM Earphone – Expert Review appeared first on HiFiheadphones.

SoundMAGIC E50S In-Ear Headphones – Review

Intro

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.

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

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 post SoundMAGIC E50S In-Ear Headphones – Review appeared first on HiFiheadphones.

The DUNU Titan 1 is also featured in our Best in-ear headphones to buy in 2015 – Expert Reviews 

Introduction

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.

The DUNU Titan 1 is also featured in our Best in-ear headphones to buy in 2015 – Expert Reviews 

Price: £89.99

The post DUNU TITAN 1 Earphones – Expert Review and Video appeared first on HiFiheadphones.

Verdict

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

Pros

• Instantly engaging

• Lovely cable

Cons

• Case is a little ungainly

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

Key Features

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

First Impressions

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

Sound Quality

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

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

Summary

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

Score – 9.5/10

The Fidue A83 features in our BEST HEADPHONES OF 2015 REVIEW

The post Fidue A83 Earphones Review – Hybrid Unbridled appeared first on HiFiheadphones.

Best In Ear Headphones Of 2015

Our audio gurus have collected the best in ear headphones from under £50 to over £500 in 2015 and reviewed them all to help you choose. From established brands like Shure and Sennheiser, to new kids on the block like DUNU and FIDUE, below you can check out our best rated headphones from the year so far.

Scroll down for in depth reviews of our favourite in-ear headphones this year so far.

Shop: Visit our in-ear earphones store

More Info: Best portable on-ear headphones review

Best In Ear Headphones Under £50

DUNU DN-12 Trident

We had to keep reminding ourselves that the DUNU DN-12 in-ears cost less than £50. The packaging is nicely finished and when you get inside you find a good quality leatherette bag, plenty of different eartips, a cable clip and even a Karabina belt clip.

The headphones themselves are extremely well built. The driver housing is made from titanium which feels great and has a good amount of weight. The cable feels tough and isn’t flimsy, this ends in a smartly designed angled jack connection – you even get a cable tidy designed by DUNU included

Bass is deep and punchy without being boomy, midrange is slightly recessed with high frequencies well balanced; there’s a slight roll-off for those who like a warmer sound signature.

Hifiheadphones verdict:

Punchy with tight bass and crisp detail, the DUNU DN-12 looks and sounds incredible for the price. A real budget winner!

Our full review can be found here: DUNU DN-12 Trident In  Ear Headphone Review

SoundMAGIC E10S

From the start it is hard to believe that the E10S is under £40. The packaging is smart and of a very high quality – once opened you find plenty of spare ear tips and an attractive hard case. Holding the earphones you can feel how well made they are and the innovative switch on the jack plug will let you set the earphones to work with any smartphone – you would not expect technology like this on such a modestly priced earphone.

The E10S comes with ‘Smart Switch’  (Hense the added S to the Model Number) making it compatible with all smartphones, the E10S incorporates this ingenious user adjustable switch enabling control of Apple as well as Android smartphones. Owners of multiple smartphones can easily swap between devices to control call answer and end functions without compromise, and to top it all it comes in a choice of colours.

For those who don’t need the microphone the SoundMAGIC E10 is also available without microphone for £10 less.

And for those with a little more to spend, consider the new SoundMAGIC E50.  The E50 is a very similar design, but with improved driver (giving more detailed sound) and Comply tips supplied as standard.

HiFi Headphones Verdict:

If you have £40 to spend on some new earphones then go for the SoundMAGIC E10 – if you need an in-line microphone then go for the E10S.  Easy! These earphones are our default recommendation at this price point.

Our full review can be found here:  SoundMAGIC E10S In Ear Headphone Review

Shure SE112

Shure’s addition to the sub £50 earphone range is very impressive. They are very well built with a tough cable and solid speaker housing. The sound rolls off slightly at the top which takes away any harsh frequencies and the bottom end has plenty of punch!

The Shure SE112 are a great alternative to the award winning SoundMAGIC E10 – especially if you prefer a mellower presentation.

For a more professional in-ear monitor design we also recommend the Shure SE215 – tight bass, crisp mids and great soundstage.

HiFi Headphones Verdict:

The Shure SE112 has punchy bass and smooth top end detail. They are very comfortable with great isolation and they are tougher than most. IF you ned a built in Mic you Shure have now produced the Shure SE 112M+ for all smartphone options.

Our full review can be found here: Shure SE112 In Ear Headphone Review

Best In Ear Headphones Under £100

Sennheiser Momentum In Ear

When it comes to the sound, the Momentum In-Ear compares well with its full-size Momentum sibling. Detail is high without sibilance or discomfort; harmonics are brought out for a very real sense of musicality.

Soundstage is surprisingly broad for an in-ear model and imaging is coherent and sharp. Overall, the sound is fairly typical of Sennheiser’s recent offerings; in terms of full size headphones at least. When compared to older lines such as the soon to be axed CX300, the sound is drastically improved and shows that this old dog still has some new tricks!

HiFi Headphones Verdict:

Momentum in-ear – For the asking price, the Sennheiser Momentum In-Ear is incredible value; giving great sound as well as swish styling and all in a very rugged and classy looking case.

Our full review can be found here: Sennheiser Momentum In Ear Headphone Review

DUNU Titan 1

This is a very special earphone that challenges the big brands with both finish and sound quality.  We think the DUNU Titan 1 is arguably the best in ear headphone available under £100.

An ideal solution for fans of the wide sound of open-backed headphones, but who require more isolation. The bass is tight and solid, providing thumping drive when needed.

Soundstage is greatly enhanced by the innovative vented design.  One theory is that the energy coming through the holes in the earphone housing (not through the eartip) is felt by the concha, or bowl of the ear. Just as in real life, when sound energy is focused by the ear into the ear canal, it creates a light sensation on that part of the ear which the Titan 1 design mimics with great success.

HiFi Headphones Verdict:

Yet another triumph from DUNU-Topsound. Bright crisp and clear with big bass. These shiny little IEMs are comfy as well as crisp and airy sounding, The finish and materials are high end making this earphone a solid choice for those looking for something special.

Our full review can be found here: DUNU TITAN 1 In Ear Headphone Review

Best In Ear Headphones Under £150

Final Audio Design Heaven IV

Heaven IV achieves the truest possible expression of live concert hall sound.With the incorporated balancing air movement mechanism the earphone body design has evolved into an uncomplicated, slender structure.

Final Audio Design’s special BAM (Balancing Air Movement) mechanism, optimises air movement inside the housing, has pushed the evolution of earphone body design to the next level with a simpler structure and slimmer body. The result is a balanced, natural sound that reduces unwanted sibilant high-frequency sounds.

The Heaven IV is handmade by Japanese sound engineers with a full-focus on ideal sound with no compromises.

HiFi Headphones Verdict:

Final Audio Design have managed to create an earphone that not only looks great, but sounds it too! You get a refined sound with clear and textured detail as well as deep, tight bass. The flat cable design has also been well thought through, it is very durable and eliminates tangles and microphonics.

Best In Ear Headphones Under £300

Fidue A83 Hybrid

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

The left and right sides are denoted by the blue and red housings of the Fidue A83; they simply beg to be worn and seem to offer a fun experience just by looks alone. Supplied tips are what can be expected for a model in this price category; there’s a good range along with the nearly ubiquitous free Complyfoam tips and the accompanying carry case is a chunky ‘Pelican’ style along with a hard foam winder/storage insert that will certainly protect the earphones.

HiFi Headphones Verdict:

Great sound quality, superb cabling- this  hybrid driver earphone has come from nowhere to capture the hearts of audiophile listeners in 2015.

Our full review can be found here: Fidue A83 Hybrid In Ear Review

Best In Ear Headphones Over £500

DITA Audio Truth Edition

Machined from solid aluminium, the capsules are designed to avoid adding their own colouration to the sound, and are weighted to lean into the ear for greater comfort and a better seal. They aren’t heavy but just weighty enough to let you know they mean business, and the cable is reassuringly stout.

The Answer Truth Edition is a dynamically driven IEM with a single 10mm driver; Dita Audio wanted to go for the simplest design in order to deliver the purest audio. Since balanced armature technology requires crossovers, multiple drivers and all the related gubbins, Dita went for the less complicated dynamic route. And why not? We’ve all been shown the power and finesse of the dynamic principle through Sennheiser’s excellent IE800s.

Soundstage and imaging are first class, and the use of a headphone amp can really add the cherry to the cake in terms of realism.

HiFi Headphones Verdict:

The Truth Edition is not cheap, but then the best things in life often aren’t, these are incredible earphones with a crazy over engineered cable. Aluminium monsters that are powerful yet precise.

Also available is the Dita Audio Answer IEM, using the same driver and housing as the Dita Truth Edition but with a simpler cable option.

Our full review can be found here: DITA Audio Truth Edition In Ear Headphone Review

Final Audio Design Heaven VIII

This is a very special earphone that pushes the boundaries of in-ear headphone design.

The FAD Heaven VIII is tuned with a rich and vibrant frequency response for a lusher sound. Like all of the Heaven range, there’s virtually no stridence or discomfort for sensitive ears, but detail is reproduced with no compromise.

Bass is fully represented (thanks to Final Audio’s ‘BAM’ technology) without getting too big for its boots; midrange is crystal clear and uncluttered, with treble as smooth as silk, yet superbly detailed.

A special effort is required to keep any dignity the wearer might want to hang on to; the temptation to start dancing is great with the Heaven VIII! Soundstage too is incredible; for IEMs, the Heaven VIII comes close to full-size headphones. Imaging and separation are razor sharp also, instruments leap out and reverb decays really give an idea of real space.

Also check out the Heaven VIII’s little brother the Heaven VII.

HiFi Headphones Verdict:

Final Audio has earned itself a fanbase the world over, thanks to the wonderful IEMs and full size headphones it produces; the Heaven VIII is a shining example (literally) of the sort of talent they have.  Both stunning to look at and even prettier to hear, these handcrafted beauties are among the best earphones you will ever be able to buy.

Our full review can be found here: Final Audio Design VIII – Review

Sennheiser IE800

The IE800 are Sennheisers new flagship audiophile earphones. Featuring a linear-phase driver system that achieves distortion-free audio even at high sound pressure levels. Surely Sennheisers most innovative portable music solution, the IE800 meets the demands of portable audio with truly superb sound and comfort.

The extra wide band transducer system, with a diameter of just 7mm is the smallest wide-band driver system currently available in dynamic earphones. Innovative vent holes in the housing of the IE800 direct the air flow resulting in minimal distortion levels. Sennheiser’s revolutionary dampened two chamber absorbers eliminate the masking of low volume frequencies by absorbing the energy from the louder low-frequency sounds.
Build quality is amazing, scratch-resistant ceramic housing, stainless steel air vents and Kevlar coated audio cable, the IE800 is built to last. Two special meshes protect the IE800 against residue and contamination.

The package includes 5 pairs silicone eartips in different sizes, premium leather carrying case, a cleaning tool and instruction manual.

HiFi Headphones Verdict:

Brimming with ground-breaking technologies the IE800 are the ultimate IEM for bass lovers. Big warm and powerful sounding, beautifully engineered with an ergonomic and attractive design, these are very special IEMs.

John from the sales team gives you a visual rundown of our top 10 best in ear headphones of 2015:

The post Best in-ear headphones to buy in 2015 – Expert Reviews appeared first on HiFiheadphones.