Not to be overlooked, a good quality DAC and amp can do wonders to any setup. We have seen huge growth in interest towards DACs and amps, so it makes sense that we put together our favourite headphone amplifiers and DACs to help make that decision easier.

Whether you want to use them with your TV, computer, laptop, smartphone or hifi system. We’ve gathered our picks for the best DACs and headphone amplifiers that you can buy!

BEST DAC / AMP UNDER £100

1. Shanling UP2 – £79.99

The Shanling UP2 is the perfect way to bring added power and audio quality to your smartphone, tablet or computer. Using Bluetooth, the UP2 will connect wirelessly to your phone – or any Bluetooth compatible audio device – and thanks to the on board dedicated headphone amplifier and high quality Sabre DAC chip – you’ll be able to get high fidelity audio wherever you go.

READ MORE: Shanling UP2 Portable Bluetooth DAC & Headphone Amplifier Review

BEST DAC / AMP UNDER £200

2. JDS Labs Atom – £129.99

JDS Labs has mastered the art of making high quality amplifiers and DACs at affordable prices – and the Atom is their most impressive yet. For just over £100, the Atom desktop headphone amplifier will drive any headphone you throw at it and will bring improved soundstage, depth and dynamics to your setup. All in a neat and tidy desktop design.

READ MORE: JDS Labs Atom Desktop Headphone Amplifier Review

3. Periodic Audio Ni (Nickel) – £199

This one’s for the purists out there. On the outside, the Periodic Audio Ni seems like a very simple and basic headphone amplifier – plug it into your source and you’ll soon see that it most definitely isn’t simple or basic. This amp brings added power, punch and improved dynamics to whichever device it gets used with. Those that really appreciate good sound will love the Nickel.

MORE INFO: Periodic Audio Ni (Nickel) Portable Headphone Amplifier Review

BEST DAC / AMP UNDER £500

4. iFi Audio xDSD – £399

The xDSD from iFi Audio is a portable amplifier and DAC that can connect to your audio source wirelessly. So if you like to use your phone, but want to plug in some high quality headphones – then the xDSD will allow you to get the most from them, without adding more cables. The xDSD will take over the amp and DAC roles, so you will know that you’re getting the best sound no matter the source device.

MORE INFO: iFi Audio xDSD Portable Bluetooth DAC & Headphone Amplifier Review

5. JDS Labs Element II – £399

If it is a desktop option you need, then the JDS Labs Element II will not only bring an audio upgrade – it will look great too. Beautifully designed with a simple yet striking look – the Element II will fit into any setup. Historically, JDS Labs has been known for their functional design and great sound – now with the Element II, they have shown that they can make great looking equipment too.

BEST DAC / AMP UNDER £1000

6. iFi Audio Micro iDSD BL – £599

For the ultimate amp and DAC solution, look no further. The 2 Burr-Brown DAC chips provide a solid foundation for the custom op-amps, which help to deliver an impressive amount of fidelity and power. Using sensitive IEMs? This amp/DAC handles these superbly, with no noise or distortion. Whether used on a desktop or on the move – the iFi Audio Micro iDSD BL does it all… really well. 

MORE INFO: iFi Audio Micro iDSD BL Portable DAC & Headphone Amplifier

Have We Missed Anything Out?

Please feel free to leave a comment below and let us know…

The post Best DACs & Headphone Amps 2020: USB, Portable, Desktop appeared first on HiFiheadphones.

Aesthetics and Build Quality:

Well what can I say, Shanling know how to make a great looking product and the UP2 is no different. Tempered glass in the front and back with subtle branding and a machined aluminium shell and volume knob/button. On the bottom you have a single USB-C port for charging and DAC duties, on the top you have the headphone socket and small hole where the internal microphone is located. It is sleek, slim and just looks great in person.

Build quality is great, the tempered glass should hold up well over time, along with the main aluminium body feeling strong. Having a USB-C connector is excellent as most new devices have now moved over to this connector. I really cannot fault the UP2 in terms of build.

Features:

Well the UP2 is first and foremost a Bluetooth receiver, it supports all the latest codecs too including LDAC and AptxHD. This really does make a difference when compared to devices that only support SBC and AAC.

The UP2 can also be used as a USB DAC with a PC and does not require drivers to work. The internal headphone amp is powerful enough for most IEM’s and easy to drive headphones.

You can quite easily control the music via the UP2, the volume wheel can be pressed in to play/pause, double click to skip a track forwards, and triple to skip back. You can pick up phone calls and the UP2 has a built-in microphone for that duty. The UP2 has around 11hrs battery life on SBC, when using LDAC or Aptx it is slightly lower.

Sound:

The UP2 is an excellent sounding Bluetooth receiver, using a separate Bluetooth receiver and DAC chip means you really do get high quality Bluetooth audio. I’ve been using the UP2 with some Campfire Audio Andromedas and there is absolutely zero background hiss, match that with the low output impedance and you have an impressive wireless setup. The UP2 doesn’t really have much of a sound signature of its own, being neutral and detailed depending on what you pair it with.

With LDAC playing it’s getting harder and harder to tell between Bluetooth and CD quality wired from a DAP (of course you have to be playing CD quality over Bluetooth for LDAC to do its magic). No longer do we have to put up with mushy highs, and one tone bass notes over Bluetooth, now we can have excellent dynamics and detail retrieval, it is making me rethink the whole Bluetooth thing, and that’s a £79 product paired with a £1049 pair of earphones.

Of course, there is still an argument to have a dedicated DAP, with a better amplifier and better components, but usually at a much higher cost. For daily use however the Shanling is perfect, the difference in sound quality really isn’t that big and one that is easy to live with if you value convenience. Yes the UP2 + earphones isn’t as slick as a pair of true wireless earphones but the sound quality is superior to all true wireless models we have tested, along with having better battery life.

Conclusion:

Well the UP2 really is a great little device, the sound quality when paired with a device that can transmit LDAC or Aptx HD really is closing the gap between wireless and wired, with no substantial drop in audio quality. The UP2 is the perfect on-the-go partner for a pair of quality earphones or easy to drive headphones, I forgot to add that the UP2 is clean and neutral sounding to boot.

Build Quality: 5/5

Features: 4/5

Sound Quality: 4/5

Value: 5/5

The post Shanling UP2 Bluetooth Receiver / DAC 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:

The Momentum True Wireless look great, with a matte black body and textured aluminium faceplates. A lot of the lower end true wireless models look very generic and cheap, whereas Sennheiser have made sure these have a modern and simplistic look to them.

The build quality feels excellent too, with a sturdy body and great case there is nothing to go wrong. Providing you don’t drop them too often; I have a feeling these will last you a while.

Features and Comfort:

The little case they come with is really compact and charges them securely, with magnets holding the earphones in. It takes a while to get used to how the touch features work, but the manual explains it all and once you have used them for a bit, they become quite easy to use. The main thing is that the connection is stable, I haven’t had any drop-outs when in use unless I am a long way away from the transmitting device.

Comfort is great once you find the right ear tips, they stay securely in my ears and are very comfortable due to the rounded edges of the housing.

Sound:

Bass: The Momentum TW has quite impressive bass response, with a nice dose of added body which gives the sound a pleasant warmth. The bass is not necessarily the tightest out there, but it does a respectable job of keeping up with more complex tracks, along with having enough extension and impact to keep most people happy. The added body these have is great as when you use them in noisy environments you will still be able to hear every beat.

Midrange: The midrange is a little bit recessed, but there is enough presence to stop them from sounding overly V-shaped. Guitars have great tonality to them; however, vocals don’t quite grab your attention, lacking a bit of clarity. The midrange doesn’t really do anything overly wrong, but they do lack detail and come across a little muffled at times.

Treble: The treble comes across with good clarity but in a polite manner, never becoming overwhelming. They have quite good presence without any nasty peaks, there is a smooth and controlled nature to the treble that is very easy to listen to. They have just enough bite to prevent them from sounding overly dark, and they do extend with relative ease but this is hindered by Bluetooth codecs somewhat.

Conclusion:

The Momentum true wireless are the best true wireless headphones I have tested so far, with stable connectivity and good sound quality. Wired earphones at this price do still offer better sound, but at the cost of convenience. With a full-bodied sound that still offers a good level of detail, the Momentum True Wireless are actually quite impressive considering all that goes in to them.

Sound:  4/5

Features: 5/5

Comfort: 5/5

Build: 4/5

Value: 4/5

The post Sennheiser Momentum True Wireless Review appeared first on HiFiheadphones.

Lindy’s talent for providing low-cost alternatives for items which sometimes run into hundreds of pounds is perhaps a well kept secret, given that they don’t advertise as prominently. Maybe they’re hoping to capitalise on the Lindy Hop phenomenon, but there’s no sign of any ‘jitter bug’ here.

Pros:

• Low price for all these features
• Rugged and sensible design
• Good all-round sound
• Comfortable

Cons:

• Hard to drive (quiet) in passive mode
• Volume control wheel placement

Design and Appearance

The Lindy BNX-60 has a utilitarian look; there’s no fashion statement to be made with these other than ‘I’m pragmatic’. They don’t have a premium feel such as more expensive models have, but the coating is of a grippy type of rubber which is better than bare plastic.

Volume is controlled in two ways; there is a button control on the left earcup for interacting with the volume controls within a smartphone, and a wheel on the right earcup for operating the BNX-60’s internal amp. It’s sensible to have this latter control at close to maximum, as there’s a small chance of touching the wheel when it comes to removing the headphones and inadvertently increasing the volume to maximum.

There are also some call handling features built in; so as well as the obvious call answer and hang up functions here, the BNX-60 supports voice dialling and last number redial among other features.

Durability and Build Quality

These headphones are well constructed and don’t feel cheap like budget headphones might; a little care is required of course, but the headband is quite twisty and forgiving should any passing lummox wish to try them out.

The cable is optional of course, but should you wish to eschew the wireless feature and go wired, the included cable is sturdy and quite adequate with good strain reliefs and a 90 degree jack.

The price also includes a semi-rigid carry case for when you’re on the move and don’t feel the need to have the Lindy BNX-60 on your head, the ubiquitous 6.35mm and flight adapters, and of course a USB cable for recharging the internal battery.

Comfort

The earpads and headband padding are dense but springy, giving comfort which is quite good considering the BNX-60’s low weight of 200 grams (or just over 7 ounces). If you’re a glasses wearer, the earpads give decent enough comfort for short sessions but this may get to be a problem if worn for hours on end. However the smallish earpads will allow most to just rest the arms of the glasses on them without altering the angle of the lenses too much.

The internal dimensions of the earcups are large enough for most ears at 6cm (from top to bottom) but as with any closed-backed design with leatherette earpads, it might get a bit sweaty in there if worn for long periods.

Suitability for intended application

The noise-cancelling feature is reasonably good; the all-pervading rumble of the lithographic printers next door is a feature of life here and the BNX-60 does a fair job of cutting it out. With no music on it can still be heard, but one needn’t turn up the music volume very much for it to be blotted out completely.

Sound Characteristics

There are four different ways the BNX-60 can sound, depending on whether it is fully wireless or wired/with ANC enabled, or off. With ANC off, the sound seems comparatively indistinct and foggy whether the cable is used or not. with the ANC enabled, the midrange is more present and the overall volume rises significantly so watch out if you’re listening at a high volume and wish to turn on the ANC feature.

For this review, we’re sticking to the intended method of the design which is using both the bluetooth and ANC features.

• Bass

Bass extension gives a fairly good hint of that sub bass, but if you like a lot of sub bass then look elsewhere. Mid bass and upper bass is fully present and provides a good bit of warmth here but is a bit flabby with some tracks.

• Mids

The midrange is not affected by the bass very much, and provides a decent amount of detail. It’s quite a hard-sounding and dry midrange with some good detail there; decays give a nice idea of space in the recording and vocals are well textured and convincing. Those who have a sensitivity to midrange frequencies needn’t fear; the BNX-60 is a comfortable listen.

• Treble

Up at the top, treble gives a little bit of glitter but not too much; it serves as an even extension to the midrange and doesn’t draw much attention to itself. In terms of detail it could be bettered; but given that we’re reviewing a wireless, noise-cancelling set of headphones at this price, we won’t expect the moon on a stick!

• Soundstage and Separation

Depending on the recording, the Lindy BNX-60 gives some nice surprises in terms of the width of a presentation. Sounds can appear to be emanating from outside of the closed-back earcups, giving a feeling of being enclosed by the music rather than the headphones themselves. Separation is decent; individual instruments can easily be picked out, yet they tend to meld together if the listener wants to just enjoy a presentation as a whole.

Music genres good for and why

This reviewer has caught himself enjoying a good range of tracks on the Lindy BNX-60; dance music and similar commercial genres such as pop and rock come across with a good amount of power, and live or acoustic recordings benefit from the midrange presence.

Summary

Lindy’s BNX-60 is pretty top-notch for under £100. If you want better, you’ll be looking at spending a lot more for such a fully featured noise cancelling headphone.

The post Lindy BNX-60 Review – Noise Cancelling Wirelessness for under £90! appeared first on HiFiheadphones.

Cowon is known as one of the first companies to produce portable digital audio players (predating the iPod by a year with their CW100 model from 2000) and so they have quite a heritage in this area. Is the Plenue D player able to pick up the mantle of its forebears, and does the ‘D’ stand for ‘Dazzling’ or ‘Dunce’? We take a listen…

Pros:

• Good, customisable sound
• Small size is good for hands and pockets
• Attractive look

Cons:

• Short delay at power on (music database check)
• No case included

Design and Appearance

The Plenue D is a very small player at 2″ x 3″ (52mm x 75mm) and is all black, apart from its silver top and power button, all of which gives an impression of stylish utilitarianism. Edges are slightly bevelled making it comfortable in the hand, and it’s quite easy to operate whether you’re left or right-handed.

Being a touchscreen operated player, the power button can be pushed with music playing which disables the screen. On the right side there are buttons for volume and track skipping with an extra play/pause button. Just remember to disable the ‘button lock’ option within the player so all these buttons function when the player is in use and the screen is disabled.

There is only one slot for a Micro SD card and the Cowon Plenue D can only accept up to a 128Gb capacity at this time, but larger cards may work with future firmware updates. Just now, a 128Gb card is recommended as the Plenue D will hold, but will not allow you to access music which is outside of this 128Gb capacity. However there is also an internal memory of 32Gb on the Plenue D, if you need a reserve.

The Plenue D is a basic player which forgoes Bluetooth, wifi and the installation of apps such as Spotify; it’s a good choice for anyone who just wants a decent player for their own music collection. Why pay for features you’ll not use?

One issue is that the player checks for any new music whenever it’s turned on. This is typically finished after about 10 seconds, but can be a pain if you just want to start the player up and get on with things. Also when scrolling through tracks, the display can lag a little but it’s not a serious problem.

Durability and Build Quality

The Cowon Plenue D is a solid little device; the side buttons have a good ‘clicky’ feel about them and there’s nothing much else to say about build quality. It’s perfect. Perhaps it’s just as well, as there is no protective case included; it would have been nice to see one.

Sound

The Plenue D has a fairly neutral sound, but with a touch of warmth about it. It can help tame models such as the Shure SE846 which can be a bit lively with the bright filters, for example. Extensive EQ settings are available as well, including an almost paragraphic-level EQ section within the settings so you should be able to get the sound you’re after without too much bother.

Being a portable player, the Plenue D is designed for low-impedance earphones and headphones; a separate amp will be required for use with models over about 80 ohms impedance, depending on sensitivity.

Summary

For a basic low-cost player, the Cowon Plenue D is a good choice. It does all that’s needed, and it’s clear that the Plenue D comes from a company which knows its stuff!

The post Cowon Plenue D DAP Review – Cowon and Treat Yourself 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.

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.

Best On Ear Headphones 2017

Looking for a new pair of on-ear headphones?  We’ve collected the best on ear, open back, closed back and portable headphones to buy in 2017 and reviewed them to help you choose.

Shop: Visit our on-ear headphones store

Read More: Best In Ear Headphone Buying Guide

Best On Ear Headphones under £50

SoundMAGIC P22C

SoundMAGIC takes a lot of beating in this price category – the brand is a natural at making low cost headphones which sound much pricier.

The P22C model is a lightweight portable with a flat tangle-free cable and good isolation. Ideal for travel and holidays, these will fit right in to any bag or backpack when stored in their low profile travel case. The P22C included a microphone for phone usage and the remote is compatible with both Android and Apple devices.

Sound is impressive for this price point, with plenty of detail and a good kick to the bass without overpowering the mid range.

Engaging and fun-sounding, the P22C will make the absolute most of the output from any portable player.

Edifier P650

The Edifier P650 is a smartphone friendly, easy to carry portable headphone that punch above their weight and price.

Offering a well balanced sound with a little added kick down low, the midrange is clean and detailed and the treble isn’t far behind. The bass does not have the most sub-bass rumble but for a quick and easy to use, on the go headphone they offer great sound.

What impresses most is their ability to portray the whole frequency range in a well controlled and balanced manner, too many budget headphones overload you with muddy bass, yet these offer plenty of detail but are also easy to listen to; a no brainer at this price point.

Koss PortaPro

The simple design and great sound keeps them viable while the open-back design, whilst not being the best for isolation of course, is perfect for those who wish to be aware of what’s going on around them such as joggers, and muggers.

The sound is generally well balanced between bass and treble, although the midrange can seem a bit distant and mushy. Bass is perhaps a bit on the heavy side, but it will definitely satisfy those who want a bassy sound. The Koss Porta Pro Classics offer a warmish sound overall.

Be aware though that their open-back nature means that they will be of limited use in noisy environments.

READ MORE: Koss PortaPro Full Review

Best On Ear Headphones under £150

B&W P3 Series 2

B&W have a long history of making excellent hifi products, and this has trickled down into their headphones.

The P3 are superbly built with an elegant and sophisticated look, the P3 really do impress. Lucikly they are not all about the look either, as the P3 offer a smooth and effortless sound that is akin to their house speaker sound. Offering excellent full bodied bass response with a non fatiguing and slightly sweet midrange and treble.

Comfortable, well built with a smooth and pleasing sound signature, the P3 are perfect for on-the-go use.

Sennheiser HD25-1 II

The HD25-1 II are one of the most well known on-ear headphones, this is partly due to their popularity as a DJ headphone. Used by DJ’s and sound engineers globally the HD25-1 II are a rugged portable headphone that will last for years.

Offering an immediate and aggressive sound they won’t give you a wide soundstage but will give you an engaging and detailed signature. The bass is tight and digs deep with excellent control and presence, the midrange is smooth yet very detailed and the treble has good extension and is very well placed in the mix.

If you are looking for a smooth laid back sound, the B&W are probably a better choice, but if you want a fun, upfront and engaging listen the HD25-1 II is for you. All parts are easily replaceable too, should anything ever break.

Grado SR80e

The Grado SR80e are a definite improvement over the SR80i, with a slightly warmer, more balanced sound. Their retro styling may not appeal to all, but underneath the looks is a fine sounding open-back headphone. The undisputed king of headphones for rock music, these are sure to get you toe tapping and head banging in no time.

These will not appeal to bass heads, they fair better with music that is played on real instruments. They have long been favourites for people that enjoy rock music due to the speed and control of the sound.

At the price point I still think Grado hold their own with a well balanced, aggressive and detailed sound, there is nothing quite like them.

READ MORE: Grado SR80e Full Review

Best On Ear Headphones under £250

Sennheiser MOMENTUM 2.0i

The Momentum series are hugely popular with on the go commuters, and for good reason. Offering stylish looks, a comfortable fit and a smooth easy to listen to sound.

Built to last with replaceable parts, the Momentum has slightly retro looks and comes in an array of colours. With playback controls on the cable you no longer have to take your phone out of your pocket. The sound is dynamic and punchy, offrering a slightly bass driven sound without sacrificing the midrange and treble. Engaging and fun are the best word to sum up the Momentum 2.0i.

Good looks and great sound, it is easy to see why the Momentum 2.0i is so popular with commuters. For Android users there is also the Sennheiser Momentum 2.0G.

Beyerdynamic T51i

The T51i have been around for a while now and are still excellent on-the-go headphones. They have a sturdy and sophisticated look, and offer a well balanced and detailed sound.

The T51i again tilts towards an easier to listen to sound, with a slight bass boost that gives the whole sound a little added body. There is sufficient detail across the range to keep them from sounding boring and what comes to mind when you put the T51i on is refinement.

With excellent build, comfy fit and refined sound the T51i has a lot to offer.

READ MORE: Beyerdynamic T51i Full Review

Bowers & Wilkins P5 Series 2

Leather earpads and a metal headband, the P5 Series 2 screams quality and luxury. The earpads are soft lambskin leather with memory foam inside, like cushions against your ears.

Like the P3 the P5 Series 2 has the typical B&W house sound, which is smooth and effortless. Offering a well balanced but slightly rich sound with superb separation and articulation, from highs to lows these sound very refined and grown up.

The P5 Series 1 look stunning, have replaceable cables and a smooth effortless sound, what is not to like?

READ MORE: Bowers & Wilkins P5 Series 2 Full Review

Best On Ear Headphones Over £250

Audeze Sine

Built from leather and metal, the Audeze Sine are built to last and also come with detachable cables. Using planar magnetic drivers they take a little more power than most phones can output, so they are best used with a high quality music player.

Give them a good source and the Sine in return give you excellent audio with snappy dynamics that can keep up with the most demanding of music. The bass is full yet superbly controlled, the midrange is where these excel not allowing the lows to affect them. Guitars have excellent power, and vocals come across with plenty of detail. The highs are present and well defined, but never become too hot and harsh.

The Sine are a mighty fine sounding on-ear headphone when driven well, and give you a full and detailed sound all

The post Best On Ear Headphones To Buy in 2017 – Expert Reviews appeared first on HiFiheadphones.

Edifier W360BT Bluetooth Earphones Review

READ MORE: Best Earphones Buying Guide

Edifier is one of those brands which has escaped our attention in recent years; granted, there are a lot of low-cost brands out there but we are quite impressed with what a relatively humble sum of cash can get from this one. For instance, we have recently been getting familiar with the Sennheiser Momentum HD1 and they are very nice too. But how about cutting the cost in half?

Pros:

• Superb comfort
• Good battery life
• Decent sound for pop and the like

Cons:

• Vented capsules affect isolation

Design and Appearance

Like the Momentum HD1, the Edifier W360BT consists of a horseshoe-like base which sits around the neck, and this houses all the controls and the batteries, leaving the capsules feeling nice and light in the ear. Controls are on the upper side of the left ‘heel’ of the horseshoe, with charging port and on/off switch underneath.

The capsules have a vent each, and this lets a certain amount of exterior noise in. Great if you are planning to use these for the purposes of exercise and jogging as it’s good to be aware of your surroundings, but the noisy London Underground may cause a few problems if you’re commuting.

It’s not certain if the word ‘attractive’ is suitable for the W360BT as they are not really designed to draw attention to themselves, but they don’t look bad.

Durability and Build Quality

The Edifier W360BT is built for lightness, and due to the way it is worn, has not been made to be particularly rugged. Just comfortable and light. Cables from the neckband part are reasonably protected by strain reliefs, and that’s about it. To be fair, this design sits up out of the way of most things and the light design seems quite suitable.

Comfort

At 46.5 grams, the W360BT can hardly be felt whilst being worn; there is no weight on the capsules going into the ear either, so if you’re always fiddling around to get a decent fit with your current Bluetooth earphones, these may be worth a try.

Suitability for intended application

As mentioned above, there are several uses these can be put to. They are particularly well suited to exercising, considering the way they are worn and the vented capsule design, but the packaging is distinctly aimed at the mobile/commuter market. For general out and about purposes, the Edifier W360BT is fine unless you find yourself in particularly noisy places a lot of the time.

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Sound Characteristics

Generally the sound of the Edifier W360BT conforms to what most people find enjoyable, with a slightly elevated bass and a warm sound signature.

• Bass

Low extension is fairly good, and bass makes its mark with enough emphasis for most without going overboard too much. There is a bit of ‘bloom’ here where the bass lacks control slightly. The midrange is not really affected however.

• Mids

Midrange is clear enough to enjoy vocals and the like; there’s no obvious disconnect between bass and midrange which is nice. Also there’s a decent bit of space in there, showing that the midrange has some good control. There’s no danger here with any spikes or extra presence causing potential listener-fatigue, it’s a comfortable listen.

• Treble

Presence here matches the midrange; hi-hats and cymbals are clear and present, with a certain grainy quality which is not unusual for this type of earphone. Brass and saxophones get a nice raw edginess, and again it’s hard to imagine anyone having problems here with fatigue.

• Soundstage and Separation

Soundstage is OK for such a design, although the vented capsules might have improved on this a bit more. Likewise, separation is decent enough with instruments holding their own ground but there’s the sense that they are blending together slightly.

Music genres good for and why

The Edifier W360BT is great with commercial genres like R&B, hip hop and pop, but if you require any more refinement such as with classical music, you might want to consider spending the extra for the Sennheiser HD1 equivalent.

Summary

Edifier’s W360BT is a worthy addition to the current Bluetooth models available, with the neckband taking the weight so we can enjoy music in greater comfort. A good one to take out with you, but try to avoid those very noisy places!

The post Edifier W360BT Bluetooth Earphones Review – Wearable or Terrible? appeared first on HiFiheadphones.

NuForce uDAC5 Mobile DAC/Amp Review

The Optoma Nuforce uDAC5 is an excellent little DAC/Amp that cannot be beaten in size or sound for the price. It is a solid unit with a slightly smooth sound that is sure to please.

Pros:

• Size
• Build
• Sound

Cons:

• None for the price

Aesthetics, Build Quality and Accessories

The Nuforce uDAC5 is a tiny little thing, that looks great with a clean metal housing and good sized volume knob. The casing is all metal with a LED light on the front indicating it is on, along with the volume knob and headphone socket, inputs and outputs on the back and that is it.

Built quality is excellent, with the all metal case and solid sockets this little thing is built to survive. The volume pot moves smoothly and everthing feels well put together, the finish of the case is impeccable.

Accessories are not really included, all you get is the DAC, USB cable and quick start guide. I would have like to have seen some rubber feet included, maybe a pair of RCA cables too. But most people already have interconnects so not a huge issue.

Ease of use and Features

The uDAC5 is simple and easy to use, with the latest Windows 10 update, it is plug and play with no need to install drivers. Otherwise the drivers are available from the Nuforce website, I had no issues getting the DAC to work and it just started playing music instantly.

The RCA outputs are controlled by the volume pot, and not a fixed line out. This means you can use this with active monitors, but if you are going into an external amp set the volume to 100%.

It can also be used to convert USB signal to a coaxial for use with an external DAC that has no USB input.

Sound Quality

First off I will say the headphone output has fairly high gain and can drive the Beyerdynamic DT990 600 Ohm with ease, it also worked well with less sensitive IEM’s but won’t be the best match with very sensitive IEM’s unless you lower the volume in windows.

Out of the headphone output the uDAC5 has excellent sound throughout the range, it is not bright and clinical yet still brings out the detail in music. It is a big step up from on board audio out of a PC/Laptop, the sound is sightly warm and euphoric with good separation. I do find the internal amp to be fine for casual listening with easy to drive headphones, but you will notice a difference when going to a full size desktop amp with harder to drive headphones.

Everything is well placed in the mix, the lows hit hard and dig deep, vocals have a sweetness to them that is quite pleasing and highs have good definition and extension, lacking only the micro detail and air that higher end equipment offers.

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READ MORE: Grado SR80e Audiophile Headphone Review

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As a pure DAC the uDAC5 is clean and clear without any real flaws, it works really well in any system providing a big step up from on-board audio. I feel there is still a slight smoothness to the overall sound which does get rid of any potential harshness but can slightly hide some micro detail.

Conclusion

For the price the Nuforce uDAC5 is an excellent piece of kit, it would be perfect for a coffee shop setup, or a small office rig, it is also perfect as a DAC for active desktop monitors and to feed an external amp at home.

It is not for driving really demanding headphones to their full potential, it is for casual listening and getting better sound out of a PC on a budget, and for this purpose it is a no brainer.

The post Optoma NuForce uDAC5 Review appeared first on HiFiheadphones.

Shanling H1 Portable Headphone Amplifier Review

We’ve been treated to a few of Shanling’s products lately; as well as the excellent M1 and M2S players, this little amp promises to give brands like Fiio a run for their money! The entry-level portables market has been truly cornered by Fiio in recent years, so it will be interesting to see what impact Shanling can make here.

Pros:

• Small, handy unit
• Thoughtfully designed volume control
• Well constructed

Cons:

• None

Design and Appearance

The Shanling H1 amp is a small unit, being 7cm x 6cm and about 1.5cm thick; about half the size of the average mobile handset. The edges are bevelled and the unit feels good in the hand, with enough weight to feel substantial for its size, although the unit is itself not heavy.

Key Features

The main feature is the recessed knurled volume knob which is centred on one side of the amp, which is protected from accidental operation by the amp’s housing. Power/charge lights are on the top, plus there’s a gain switch and micro-USB socket on the rear for charging. That’s it! The H1 is as simple as it gets for an amp, and it’s all that’s needed.

Durability and Build Quality

The Shanling H1 headphone amp is constructed from aluminium and has a pretty solid feel about it. It will probably have no problem being dropped occasionally, but we’ve not tried this here! The volume knob has a smooth, solid feel as it’s turned and it has enough stiffness not to be operated accidentally whilst in the pocket.

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READ MORE: Oriveti New Primacy Hybrid Driver IEM Review

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Sound Quality

This amp goes loud for its size; we couldn’t resist pairing it up with a HiFiMAN HE-6 which is notoriously difficult to drive. On the low gain setting, and using an incoming line-level signal, the volume goes up to hearing damage levels with the HE-6 on some pieces. Not bad! Of course, we don’t recommend this pairing for getting the best out of the HE-6!

The H1 is designed for portable use, so was tried versus being directly connected to a cheap phone with portable earphones . The sound is faithful and quite neutral, although there is a little more thump coming through with the sub-bass. Music appears to be more relaxed and natural through the amp, where it sounds a little strained with a direct connection. Listening to this amp with a pair of SoundMAGIC E80 earphones is actually very enjoyable!

Summary

Shanling’s new H1 portable amplifier is a palm-sized affair, but Fiio had better start making room anyway!

The post Shanling H1 Portable Headphone Amplifier Review – A Brawny Baby appeared first on HiFiheadphones.

Fostex TH7BK Studio Headphone Review

The Fostex TH7BK seems to be a revision of the former model, the TH7BB. However, the older TH7BB had a semi-open design whereas the new TH7BK is closed. This lends itself better to the studio applications it’s designed for, but the 1.2m cable may require an extension cable. The TH7BK can be used for portable applications but will require a little help with amplification if being used with most handsets.

Pros:

• Decent low cost studio cans
• Good for monitoring

Cons:

• Cable could be longer for studio use

Design and Appearance

The Fostex TH7BK is exactly like its older counterpart in terms of looks; it’s a plain design which doesn’t draw attention and doesn’t want it either. There is nothing unattractive about it, but it’s not going to suit you if you are planning on making an impression!

The plastic material has a rubberised coating of some sort, giving a matt finish all over.

Durability and Build Quality

Build quality is satisfactory, but the TH7BK is not designed for particularly heavy use. Sit on these and you’ll be looking for new headphones, but with care these will last for a good while.

Comfort

The TH7BK might be classed as an over-ear model but things are a little snug in there; if your ears are on the large side, they might also be partly on the outside, but most should be fine.

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READ MORE: Dunu DK-3001 Hybrid Quad Driver IEM Review

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Sound Characteristics

The Fostex TH7BK is designed to be a low cost solution for project studios and the like; the overall sound signature is fairly flat and dry, but with enough to work as a headphone for listening to music as an end user too.

• Bass

Bass is not as emphasised as with most consumer headphones, but is well controlled and fits in with the rest of the presentation. It starts low and gives a bit of a thump, but no bruises are formed.

• Mids

The midrange is clear and fully present without any troublesome peaks. Very good for monitoring and spotting details; vocals are clear enough but there is a slight raspy quality to them. Similarly, harmonics are not as clear as with higher priced offerings from Fostex, affecting imaging a little.

• Treble:

Treble is clear too, but as with the midrange there is a grainy element to it. These are under £70, so it’s not meant as a criticism so much as a description of the sound. Hi hats and cymbals still sound good, but with an element of ‘rock ‘n roll’ roughness about them.

• Soundstage and Separation

Soundstage depends on the production; some genres can seem a little flat and narrow, but others widen out quite a bit, such as classical. Given that these headphones were designed for monitoring and the like, this is not really an issue.

Separation is fairly good; everything has its place in the mix but it’s not completely distinct all the time.

Music genres good for and why

From the standpoint of an end user rather than a studio user, the Fostex TH7BK works well with electronic, dance and similar genres. Live music, classical and acoustic performances may seem a little two-dimensional however.

Summary

The Fostex TH7BK is good value as a tool for use in the studio, and can be used as a general listening headphone too. Any criticisms regarding the sound involve the TH7BK’s perceived use as an ‘end user’ headphone and so should be taken with a grain of salt; this model is not primarily designed for that purpose.

The post Fostex TH7BK Headphone Review – Staying Sober for the Studio 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.

Verdict

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

Pros

• Sounds amazing

• Looks amazing!

• Good strong metal case

Cons

• Microphonics

• Cable can be worn down from the ear only

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

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

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

Key Features

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

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

First Impressions

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

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

Sound Quality

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

Summary

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

Score 9.5/10

The post Final Audio Heaven VII Earphones Review appeared first on HiFiheadphones.

Verdict

Exceptional quality for the price. The Audio-Technica ATH-MSR7 renders every detail clearly and leaves no sonic stone unturned, but steers just clear of being overbearing at the top end of the frequency range.

Pros

• 3 cables for all scenarios, including one for smartphones

• Solid but light construction

• Carry pouch

Cons

• There must be something..!

The new Audio-Technica ATH-MSR7 has escaped from Japan and has made it to our eager earholes in the UK; but can we expect a bigger version of the M50, or something else? The styling is reminiscent of the M50, but can we expect the recessed mid range that the M50 is known for?

Key Features

The ATH-MSR7 features ‘True Motion’ Hi-Res audio drivers with a diameter of 45mm; this according to Audio-Technica’s website improves response times and minimises distortion for a clearer and and more detailed sound, due to the inclusion of a super-light voice coil and precision diaphragm. Also ‘Dual layer air-control technology’ is described as a method for reducing vibrations within the housing; together with a triple-vent on each side, virtually all extraneous sound can be dealt with. Audio-Technica have been generous with extra cables in the box; there’s both a 3m and 1.2m cable and for those of us with friends, a cable featuring a mic and smartphone controls. For those without, we can always place the plush and well-made carry pouch over our heads.

First Impressions

The headphones don’t inspire much in the way of excitement on first seeing them; they’re pretty standard and much like the M50 with a less broad headband and larger earcups. The build quality is superb however, exuding a feeling of solid reliability. I’m reminded of a Beyerdynamic DT250.

Sound Quality

Under the ATH-MSR7’s dour and business-like appearance beats the heart of a party animal; ready to draw you in for the time of your life! The sound of these cans really must be heard to be believed; for under £200 the ATH-MSR7 represents some amazing value for money. There’s no ‘effortless’ feeling of headphones at the high end of the market, but everything else is there. A very pleasing bass which knows its place but is very impactful and rich, leaves room for a stunningly clear midrange with bright treble extending high, but with a smoothness which does not stray near harshness.

Soundstage is good for a closed back headphone, but it’s the imaging and speed which really makes the ATH-MSR7 shine. It certainly seems that the mysterious techniques that Audio-Technica have implemented here have paid off. I can think of headphones this good which cost twice as much as the ATH-MSR7! Little harmonic details and hard-panned instruments vie for attention, and the ATH-MSR7 demands pretty much all of it!

Summary

All too often we’re forced to find new exciting ways to say something is very good, and this is another of those times. The Audio-Technica ATH-MSR7 just does everything well. Understated enough to be worn in public, vented enough to provide a great sound, but also with a good amount of isolation. The ATH-MSR7 is just heavy enough to give the impression of solid build quality, but light enough to be enjoyed in great comfort. And as above, the sound is immersive.

Score – 9.5/10

Click Below to see our Audio-Technica ATH-MSR7 Unboxing video

The post Audio-Technica ATH-MSR7 Review – The Dark Horse From Tokyo appeared first on HiFiheadphones.

Verdict

For the asking price, the Sennheiser Momentum In-Ear is incredible value; giving great sound as well as swish styling and all in a very rugged and classy looking case. They are available in versions compatible with Apple devices as well as Android, so you needn’t be cutting down your choice of handsets with the Momentum In-Ear.

Pros

• Very nice looking

• Decent well thought-out case

• Versions for Apple and Android

• Right Angle Jack

Cons

• Bundled accessories are high quality but low in number

• Designed to be worn down from the ear only

Hot off the press at Sennheiser, the Momentum In-Ear promises to give music fans a taste of what this esteemed company is capable of in its 70th year. This particular old man is not doddery in the least however; the old CX300 and similar models have been updated, the new Urbanite is impressing young music fans all over the place and now we have the Momentum In-Ear.

Key Features

The first thing which is noticeable is the case, since the Momentum In-Ears are tucked away in the case when bought. Fishing them out gives a very good impression however – the case is semi-rigid with an internal caddy around which the cable can be wound. This will certainly protect the Momentum In-Ears well when not in use. The nozzles have been updated from previous similar Sennheiser in-ears, with the Momentum In-Ear these are now ‘custom machined stainless steel sound tunnels’ – they give a nice impression of build qulaity. Then there’s the buttons, either for Apple or Android, depending on which version you buy.

First Impressions

In terms of styling, it’s more reminiscent of the Urbanite model. The flat two-tone cable and understated shiny design is attractive but not showy, much like the Momentum In-Ear‘s sound. The case is new too, and is an excellent design as it affords protection against the contents being squashed or stressed. A separate ‘caddy’ comes out, around which the cable can be gently wrapped and it goes back into the case to be zipped up. Very neat.

The capsules themselves remind me somewhat of the Brainwavs S5, with their off-centre nozzles. They fit very well indeed when worn like this, but it may make the ‘up and over’ wearing style a little awkward. It can be done though!

Sound Quality

When it comes to the sound, the Momentum In-Ear compares well with its full-size Momentum sibling. Detail is high without sibilance or discomfort; harmonics are brought out for a very real sense of musicality. Soundstage is surprisingly broad for an in-ear model and imaging is coherent and sharp. Overall, the sound is fairly typical of Sennheiser’s recent offerings; in terms of full size headphones at least. When compared to older lines such as the now axed CX300, the sound is drastically improved and shows that this old dog still has some new tricks!

Summary

A very good in-ear from this venerable old timer. Despite all the in-ear competition coming from young companies keen to impress, Sennheiser can still pull a rabbit from the headphone hat; the Momentum In-Ear is a real treat!

Score – 9/10

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Here at HiFiHeadphones we’re asked regularly about what amp/DAC combo might make the best job of converting and amplifying your Apple binary music collections. Would it be best to get an all in one solution like the Cypherlabs Theorem or Fostex HP-P1, or get a DAC such as the Cypher Labs Algorhythm Solo with a separate amp?

Further, how does the DAC in the Fostex compare with the DAC in the Theorem if both are connected to the same amp?

The proof of the audio pudding is in shoving the thing into your ears, so here’s our thoughts about how each solution compares!

Firstly, why even bother? The Apple iPod/iPhone has a headphone socket (just) so let’s plug straight in right? There’s nothing wrong with this, and most people find the internal DAC/Amp to be quite satisfactory when used along with their stock white earpods, or any low impedance headphone designed for portable use.

However there are those awkward types who require more power for their chosen headphones; more than the iThingy can put out. Others include those with high value in-ear headphones who will not compromise on audio quality when it comes to the digital to analogue conversion.

The wonderful full size Beyerdynamic T5p and in-ear Sennheiser IE800 were used to ascertain what might comprise the best sound and value for the average portable audiophile.

Fostex HP-P1

The original combined dac/amp for Apple; how does it fare with the new available equipment? When tried with both the Beyerdynamic T5p and Sennheiser IE800 the Fostex HP-P1 does a splendid job. Certainly better than the on-board Apple kit, but other makers have been doing their best in the intervening years of course. With this setup, the HP-P1 filter was slightly more natural sounding so assume the filter is in postion one throughout this test. Being the first up in a comparison, there’s not much to be written now but read on..

Cypher Labs Theorem 720

With the Sennheiser IE800, the Theorem gave a much better impression of control and there seemed to be more space within the midrange region. In comparison, the HP-P1 just got a bit cluttered there and the result was a loss of detail and imaging.

The Theorem compared favourably using the Beyerdynamic T5p too – the soundstage was wider and deeper with better imaging leading to a more immersive 3D sound. The detail level appeared to be the same, but with the Theorem this was smoother and more lush sounding; the Fostex HP-P1 was a little brittle next to this.

Cypher Labs Algorythm Solo with Just Audio AHA-120

I’ve compared this Class A amplifier with the Theorem before; I put it as the Theorem’s spandex versus Just Audio’s silk. Not to say the Theorem is a slouch, but when compared to a Class A amp it sounds slightly less good! And that’s the tradeoff – if you want no compromise in sound quality and wish to pick every component you will pay for it, and you will have to carry it around as well!

DACs Compared Only

For this test I decided to get a decent portable amp (Fiio E12) and compare the Line-Out features of the HP-P1 and Theorem. Things were not all that different in comparitive terms.

• The HP-P1 had good detail but the presentation was flat with a limited soundstage; a bit on the dry side.

• The Theorem had a wider soundstage but was still a little dry sounding. Detail was similar to the HP-P1 but again with more control.

• The Algorythm Solo was a slight let down used in combination with the E12; soundstage was decidedly average with a flat feel to proceedings. Detail was comparitively muddy sounding.

And compared with the E12 amp (with no bass boost), the internal amp of the HP-P1 was slightly darker and more laid back, while the Theorem amp was much fuller and lusher sounding than the Theorem DAC + E12 combo.

Conclusion

The best solution in terms of sound only is the Algorythm Solo/AHA-120 pairing, but this scores lowest in terms of cost, bulk and convenience. Having to keep 3 separate battery operated devices charged is worth considering, and then there’s the interconnects which add cost and lengthen the audio chain. The sound is rich and effortless – a real treat which is earned by those having to carry all that gear!

The Cypher Labs Theorem 720 is the best all-rounder in my opinion – there’s an engaging, exciting energy about the sound from the Theorem which is close to the Solo/AHA-120 combo but it swaps the silky smoothness of the AHA-120 for a more in-your-face powerful sound. Also the amp in the Theorem gives a lushness which is really attractive.

The Fostex HP-P1 is the least impressive of the three; given that it was the first to be introduced this is no surprise. It is still a very competent and fine-sounding unit but has been surpassed since its introduction.

The post The Big Apple Rig Shootout – Which DAC and Amp is the Champ? appeared first on HiFiheadphones.