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!
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.
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 Whizzer A15 are well worth considering for their £69.99 price; detailed and fun sounding, with great build quality make them a winner.
Pros:
Well balanced
Detailed
Separation
Soundstage
Cons
Highs are not the most refined
Cable is a little thin (replaceable)
Aesthetics, Build Quality and Accessories
The Whizzer A15 is an interesting IEM, with a brushed metal outer shell and the company logo stamped in black on it. They look and feel excellent for the price and have a nice slim profile.
Build quality is very good, especially considering the price. The outer housing is metal, the cable has a soft and flexible section of memory wire and is sheathed in fabric below the y-split. The cable is detachable and uses the popular MMCX connection, so you can use aftermarket cables should you wish. The cable has good strain relief, my only concern is it is a little on the thin side where it enters the section of memory wire.
Accessory wise you get plenty of added extras, first off you get a nice faux leather carry pouch which is small and perfect for storing the IEM’s in. Next you get a metal tip holder with a variety of ear-tips. You get S, M and L in 2 different types of single flange tips, and also a pair of S and L foam tips. The A15 have removable dust filters, and come with a pair of tweezers to remove the old foam, and 5 pairs of new foam filters. Overall everything you need is included, along with some bonus extras.
Comfort, Isolation, Cable noise and Driver flex
The A15 are really comfy, the housing has no sharp edges and the memory wire is supple and easy to shape. Once in they are secure and comfortable for all round usage. I do find the angle of the cable does slightly push them out of your ear and foam tips offer a more secure fit.
Isolation is quite average on the A15, due to the large vent on the inside of the housing. They would be fine for most general usage, but if you are looking to block out loud noises, a fully sealed IEM would be better.
Cable noise is not an issue due to the behind the ear cable routing.
Driver flex is not an issue, I believe this is due to the venting of the housing.
Sound
Bass
The A15 are tuned for fun listening, with a strong and punchy low end but without excess or bloat. The bass will satisfy most people and lends its hand to all genres well. The bass is well controlled; during rock tracks bass guitars are easy to follow, and kick drums hit with authority and good body. Acoustic has excellent body and warmth with good tonality, and EDM is just fun and energetic. The bass does not bleed into the midrange, and extends right down to the sub-bass regions with ease.
Midrange
The midrange has excellent bite and clarity, as stated the bass does not cause excessive warmth to the midrange adding only a hint of warmth to the lower midrange. The midrange is also not pushed back in the mix which can happen with some of the more fun sounding headphones out there. A highlight of the midrange is the air and separation, allowing everything to shine through with delicacy and detail. Luckily there isn’t an upper midrange peak, allowing them to be fatigue free with no sibilance.
Treble
The treble is well presented in the mix, not being subdued or left behind. There is a slight peak which gives greater presence to the lower treble region and they don’t quite extend as effortlessly as some more expensive models. But putting them up against similarly priced models, you will find these sound more complete than the usual warm bassy sound of others. Initial cymbal hits have excellent energy but are not sharp, and do not become too bright and fatiguing.
Instrument separation is excellent, the A15 never becomes congested through faster more complex tracks, and the soundstage is above average with great width. Imaging is convincing with good spatial cues and directionality.
Conclusion
The Whizzer A15 lends its hand to all music, and does a great job at being a good all rounder. Stick on some rock and they are energetic and fun, well recorded acoutstic and you can hear subtle detail and warmth. Presenting a well balanced sound across the frequency range, the A15 is a well built IEM for the price with excellent sound to boot.
Sennheiser is a company which seems to have painted itself into a corner in recent years; how do they improve on the models they’ve had on sale for the past few years? It’s either a testament to their design teams of years past, or a damning indictment of the design team they have now. They’re recycling old designs, and adding an ‘S’ so we can’t pluralise without causing confusion. What trickery is this?
Pros:
Nice warm sound
Good assortment of tips and accessories
Carry case
Cons:
Could have more midrange clarity
Straight jack on cable
Design and appearance
A new version of an old classic is simple enough to achieve; round off the corners a bit more and you’re done! There’s probably more to it than that, but this new IE80S bears more than a passing resemblance to the original IE80. However it’s a good look, and Sennheiser obviously knows that it’s not necessary to have flashy designs or gimmicks to impress their fans.
The supplied case is sturdy and sleek, with a non-removeable foam insert which houses the earphones when not in use. Also there are plenty of eartips and accessories, such as a pair of earhooks if your cable keeps popping over your ears.
Durability & build quality
There’s nothing bad to write here, the Sennheiser IE80S is as expected with excellent build quality. The jack on the cable is a straight one which may be a problem for some; if you want a right-angle jack then spare cables for the IE80 will fit just as well.
Sound characteristics:
The tuning is what we expect from Sennheiser; there’s no drastic departure from the typical Sennheiser sound which is warm, with a smattering of treble to keep things interesting but staying comfortable.
Bass
Bass is fairly plentiful and should please lightweight bassheads; however the dials on the sides of the capsules can be adjusted to give a bit more grunt. Control is pretty good, but where it’s loose it feels as if that’s the way it should be. It’s loose with a touch of panache! Subbass is quite powerful if it’s in the music, and you’ll be in no doubt
Mids
The level of the midrange is lower than the bass, but pretty clear and enjoyable nonetheless. Harmonics are clear enough and there is no congestion here, but there is the feeling that the IE80S could do better; at least with the supplied eartips. Aftermarket eartips (such as Blackbird) seem to improve things in this regard.
Treble
Treble is gentle; we’re fond of a warmer sound but the IE80S still takes some getting used to. If you’re a fan of an airy, shimmery sort of presentation then the IE80S is not for you. If however you’re a fan of laid-back music then the IE80S is a contender. Plenty of detail is present though; it comes across as an extension of the midrange with a smooth transition.
Soundstage & Separation
Soundstage on the IE80S is pretty good for an IEM but there’s a lack of depth to the sound, apart from the bass which appears to spread out in front of the listener. Separation is good, but limited with the supplied tips. If you’re splashing out on the IE80S, then try some tips such as Blackbird or Spinfit.
Music genres good for and why
Due to the bass presence, the IE80S is best suited to dance music, pop and rap. Fans of classical, jazz and opera may still enjoy those genres with the IE80S but they will likely miss the airiness and the reverb ‘feel’ of the space the recording was made in.
Summary
Sennheiser’s souped-up IE80 design is here, and it’s an enjoyable listen for many modern genres but some may find the sound lacking air and space for genres such as classical.
Sennheisers new HDV 820 is a smooth, powerful and versatile DAC/Amp that is all about musical enjoyment and flexibilty.
Pros:
Smooth effortless sound
Detail retrieval
Versatility
Cons:
A little pricey for some
Aesthetics and Build Quality:
Sennheiser have gone away from the silver colour scheme with their latest products, opting instead for a matte black finish. In my opinion the products look a lot sleeker now, and the matte black aluminum casing of the HDV 820 looks superb. The LED status lighting is white and perfectly blends with the whole look.
The build quality is as you would expect from Sennheiser, flawless. The casing is superbly finished and put together, all the sockets are tight and have no play in them. I could not find a single fault with the build and finish of the HDV 820.
Features:
The HDV 820 can be used as a pure amp, pre-amp and also as a DAC/Amp. It has balanced and unbalanced inputs and outputs and supports DSD playback.
On the front panel you have a 6.3mm/3 pin XLR combo single ended headphone out, a balanced 4-pin XLR output and a pair of 4.4mm balanced pentaconn outputs. You also have the power button, source select knob and volume knob.
On the back you have the balanced analogue inputs and outputs, single ended analogue input, gain knob, and finally the optical, coaxial and USB digital inputs.
It is a very versatile unit that can be fitted into any system.
Sound:
The HDV 820 is plenty powerful for most headphones out there, and even does a decent job at driving the HiFiMan HE-6. It is no wonder that it pairs wonderfully with Sennheisers own HD800, bringing out plenty of body, dynamic punch and detail without becoming shouty. The HD800 sound smooth and effortless when paired with the HDV 820, a pairing that is revealing with heaps of detail but never brash or too in your face.
The highlights of the HD800 are accentuated by the HDV 820, offering one of the airiest and widest soundstages of any headphone, orchestral passages are simply sublime. The HDV 820 has no trouble with separating more complex tracks, offering up a textured and well layered sound.
The HDV 820 is not the most neutral and analytical sounding unit out there, it does have a certain smoothness to it but without taking away detail. It won’t become fatiguing to listen to, and is the perfect companion to the HD800.
Conclusion:
The HDV 820 is powerful and versatile making itself at home in any system. It pairs well with many different headphones and has a slightly smoother more laid back sound than some of the other more neutral amps. The HDV 820 is all about musical enjoyment, just sit back and enjoy the effortless sound of your headphones.
The Questyle CM400i proves that neutrality really works when it comes to an all in one desktop device. One that works well with sensitive IEM’s all the way up to full size planar magnetic headphones.
Pros:
Neutrality
Detail
Power
Cons:
May sound clinical to some
No analogue inputs
Aesthetics and Build Quality:
The CMA400i is a sleek, matte black DAC/Amp which looks very professional and understated. There are orange LED’s on the front along with the outputs and volume knob; the inputs are on the back. It looks superb, but if you want to change the looks up a little you can buy an optional clear top cover to show off the internals. You can also get an optional desk stand that stands the CMA400i upright to save space.
The CMA400i has a solid CNC machined aluminium shell and feels extremly well built. All the connectors are solid, the buttons precise and the volume control is super smooth. Questyle have made a superbly built unit here, with no flaws in the finish whatsoever.
Features:
The CMA400i is a DAC/Amp, and does not have any analogue inputs, for that you will need the CMA600i which offers a pair of RCA analogue inputs.
The CMA400i has 2 coaxial inputs, 1 optical input and a USB input, so it can be used with a wide range of devices. On the back you have outputs that can be used as line-outputs to an external amplifier or pre-amp output to powered speakers. You get a pair of balanced XLR outputs and a pair of RCA outputs, along with a spdif digital output (USB to spdif converter use).
On the front you have the 4-pin balanced XLR output, a standard 6.3mm singled ended output and a 2.5mm balanced output. This covers the most common single ended and balanced connectors. You have the volume knob and also 2 buttons, one to switch between inputs and one to switch between Amp mode (for headphone and pre-amp use), or DAC mode (DAC mode switches the outputs on the back to line-outputs).
On the bottom you have gain switches, for standard or low gain, this means it can be used with a wide variety of headphones and IEM’s (standard is roghly 2.47x and low is roughly 1.1x)
Sound:
The CMA400i as a pure DAC is superb, it is one of the more detailed and neutral DACs out there not adding any sweetness to the sound. The separation is one of its strong points, and its ability to show up fine detail is also excellent. The DAC won’t smooth over imperfections in recordings, it is very revealing and presents the recording to you as it should be.
Going on to the amp section this is also a more neutral and revealing amplifier, one that could be used in a reference system. The CMA400i could sound cold and clinical to those that are used to smoother sounding amps, however it is not. It is revealing and will show up flaws in the recording, and it will let you hear the real sound of your headphones of choice.
The sound is tight, controlled and detailed, there is no added warmth so careful system matching is a must. The CMA400i is powerful enough for most full size headphones, yet also has a low gain option which can be used in conjuction with sensitive IEM’s and it has a 2.5mm balanced output. The resolution and detail of the sound is superb for the price, you will hear details you have not heard before.
Conclusion:
For an all in one unit the CMA400i is remarkably clean, crisp and detailed. It has excellent control and balance throughout the frequency range and is a great reference setup for testing headphones. It also makes a great desktop setup for most headphones, especially those that lean towards a smoother, warmer sound. Pairing the CMA400i with the Audeze LCD-2 for example really shows what they are capable of with a fun and punchy but not bloated sound. However pairing with the Sennheiser HD800 is perhaps a little too clinical for some tastes.
The Effect Audio Horus definitely deserves its TOTL status, bringing added dynamics, layering and detail to your IEM’s.
Pros:
Holographic
Natural
Organic
Detailed
Cons:
It costs a lot
Aesthetics and Build quality:
To start with the Horus comes in a leather presentation box, fitting of it’s price and big enough to store your IEM’s in too. First impressions are excellent, then you look at the cable and it is simply beautiful. An even braid with a slight gold tint to the cable, with a rose gold splitter and chin slider.
The 2-pin connectors are standard and the jack plug is the usual carbon fibre Effect audio one, I would have liked to seen the jack in rose gold like the splitter. Everything feels very well built, with good strain relief and this is a beautiful cable that is built to last.
The Horus has a pitch black and deep background, sounds emerge from thin air to immerse you in a richly textured and expertly layered sound.
Bass notes have an effortless quality to them being full in nature but not bloated, they extend with ease bringing out the quality of the bass tones of your IEM’s. The main thing about the bass that stands out is the natural and organic texture that doesn’t bleed into the midrange.
The midrange is well separated from the lows but also has a slightly smoother tonality, without losing out on the finer detail. The midrange has excellent micro detail retrieval, yet still retains a more organic and non fatiguing sound. Air and separation is superb, vocals come across with superb clarity and layering.
The highs gain a little presence over most stock cables, but here the quality is outstanding. They take the highs of your IEM’s of choice, take away the harshness and add extension and detail without hard edges. The Horus is not a bright cable, it is open sounding but at the same time engaging and dynamic. Cymbal taps and crashes are better defined within their own space, fading effortlessly into the black background.
The Horus is a deep sounding cable, adding a real sense of air and space to the sound both depth and height wise. During Pink Floyd – The Dark Side of the Moon different instruments swirl around the stage creating a holographic soundstage with excellent imaging and accurate placement.
This is a cable for those who want to get every last bit out of their favourite IEM’s, you have to come in and demo this to believe it.
Conclusion:
Horus is a cable that is incredibly dynamic sounding, it is full and impactful, yet at the same time it is open, airy and detailed. It may sound contradictory, but that is really how I hear this cable. The tone is natural and organic and is never fatiguing, bringing out every subtle detail in the recording without throwing it at your face.
Build your own Grado style headphones tutorial with Symphones V8 drivers
Do you have a pair of Grados?
Have you upgraded them to wood cups?
Are you looking to build your own Grado style headphones?
If the answer to any of these is yes, then read ahead.
So who are Symphones? Symphones started off modifying Grado headphones with their original Magnum modifications. They then went on to develop Grado style drivers that slot right into most Grado cups and aftermarket cups. Today we are looking at the V8 drivers, their latest offering that are very different in design to the V7.
A big part of driver tuning is adding dampening materials to the diaphragm and magnet, and the new V8 have a completely new driver coating.
The V8 drivers in this review are installed in Rholupat spalted tamarind cups with a Grado SR60e headband and SMC connectors to allow for detachable cables. The cable used is made from Van Damme minature starquad.
You will then need suitable cups to install the drivers in, the drivers will fit into all Grado cups excluding the PS/GS series. Please take care when removing the old drivers as to not damage the cups you will be installing the drivers into.
Alternatively you can buy wooden cups from a couple of places:
Once you have the cups you need a headband with gimbals from your old Grados, or a Sony MDR7506 headband. Alternatively Rholupat and Shipibo offer nice leather headbands and also aluminium gimbals and rodblocks.
The Symphones drivers will need soldering to your cable of choice and installing into the cups, to make sure they press fit tightly you may need a strip of insultion tape around the edge of the driver. I have installed SMC connectors into the cups so I can change cables if I need to.
Now you come to earpad selection, Grado OEM pads, or generic cheap eBay ones, take your pick but they all change the sound.
Symphones have tuned the V8 drivers to be used with OEM G-Cush pads, and the main review will be based using those.
Generic G-Cush pads add a little more body to the sound, but are not as detailed and clean sounding as the OEM G-Cush pads.
OEM L-Cush pads also work very well with these drivers, giving them the more aggressive Grado style sound, over the more spacious G-Cush sound.
The bass is not as full as the newer E series of Grado, but it is more controlled and also extends lower, digging right down into the sub-bass with ease. The bass is still quite Grado like being about quality over quantity but it is cleaner and more separated. The bass never encroaches on the midrange, and the punch is really good on the V8 drivers. Changing the earpads affects the bass the most, with generic G-Cush and OEM L-Cush pads adding a few extra dB’s of bass which may appeal to some people. The bass is more dynamic and full on the V8 drivers than the lower end Grados, sounding more realistic in tone.
Midrange:
The midrange sounds like a veil has been lifted, comparing to the Grado lineup you need to go to the PS500e at least to get this level of detail however the V8 are more spacious sounding. They still have the slightly aggressive tone to them, but are far more open soundstage wise. The upper midrange is not quite as upfront as Grados, leading to a slightly less fatiguing sound and also very minimal sibilance unless the recording has it. The midrange sits ever so slightly behind the lows and highs quantity wise, but not enough for it to be classed as recessed. The clarity and separation of the V8’s is what sets them apart from the original Grado drivers.
Treble:
The treble from the V8’s is smoother and more refined than the peakier Grado drivers. In terms of quantity it is still up there with most Grados however they are better separated and airy, with less peaks and more effortless extension. I never find them to be grating and they compliment the rest of the sound perfectly. If you are used to more bassy headphones, yes these will sound a little bright, however I find the highs to be quite well balanced with the rest of the range.
Soundstage and Imaging
More precise and also quite a lot wider than original Grados which are more direct and in your face. There is a lot of air between intruments and percussion comes through with excellent tone and control.
Conclusion:
These are an excellent upgrade for your current Grados or for a scratch build, they offer a more vivid and dynamic sound over original drivers. They sound as if a veil has been lifted from the whole sound, and the soundstage and imaging is far superior to lower end Grados. Articulate and dynamic lows, crystal clear midrange and sparkly highs, all that you love from Grados but supercharged.
Sleek sporty look with a perfect fit, the P281 Sport are some new budget kings on the block. Coming in at £24.99 they are a huge step up to any headphones that come with a phone.
Offering a well balanced sound with good kick down low, they offer an engaging and fun listening experience when out and about, yet still allow plenty of detail to be heard. From top to bottom there are not real peaks or dips, they have a smooth and easy to listen to sound. What is also great is the inclusion of a microphone and button for taking calls or skipping tracks.
What can be better than the award winning SoundMAGIC E10 for under £50? The E10C has the same superb build quality and sound signature as the E10 but with the added function of a universal smartphone in-line microphone – need we say more?
The E10C has tight bass with plenty of weight – the mids are well defined and the top end sparkles. These earphones are perfect for listening on the go as the sound is fun and they will sound great with whatever you throw at them.
If you have £40 to spend on some new earphones then go for the SoundMAGIC E10 – if you need an in-line microphone then go for the E10C. Easy.
If you are looking for a more detailed and neutral sound than the E10C, take a look at the MEE Audio M6 Pro. With it’s monitor like sound and styling, detachable cable and great looks, it is a steal for under £50.
Well the M6 Pro with Blackbird S20 foam tips may have become a new favourite for under £50. These really managed to have everything and sound very engaging, the highs do not disappoint with their presence and tone, the midrange is slightly up front and the mid bass has a mild boost, as a stage monitor I can see these being good and the sound would be easily tuneable with EQ.
For under £50 you won’t find this level of detail, clarity or separation from another in-ear headphone. Add to that brilliant build quality and you have a winner.
Looking for a more bass oriented in-ear headphone with an upfront and engaging sound, yet without losing out on the finer details and comfort, you need the Oriveti Basic.
A 10mm titanium coated driver supplies an impressive amount of bass. Now I am not much of a bass head but after listening to these for a while I found myself really enjoying them.
They’re not audiophile and they won’t give you a reference sound but if you like your earphones to be fun and enjoyable with plenty of punch then these could be for you. The isolation and comfort is also really impressive and along with replaceable cables they are a great buy!
Oriveti are new on the scene and they certainly know how to make an entrance. The new Oriveti Basic earphone packs a punch and gives you plenty of features for its modest price tag.
Looking for a in-ear headphone with quick snappy transients, whilst retaining a well balanced sound signature? Take a look at the New Westone UM Pro10, revised in 2017 to be even better and more comfortable.
Predictably, the balanced armature makes short work of replicating higher frequencies accurately, but the real interest is at the low end where single BA IEMs are concerned. Provided a decent seal can be achieved, the bass is in good balance with the rest of the presentation, although bassheads will be wanting more.
If you fancy the idea of a single balanced armature earphone, but don’t fancy the protruding capsules of the Etymotic designs then the UM Pro 10 is worth a close look. Sometimes the best designs are the simplest and I really think there is something to be said for single-driver IEMs. Makers may be able to tune the sound signature a little more with multiple drivers, but this risks muddying the sound with possible phase/imaging issues as the audio from these different drivers reaches our ears at different times.
In short – choose the simple life and get the UM Pro 10!
One of our best sellers, the New Primacy has a well balanced sound signature with class leading separation and clarity.
The Oriveti New Primacy has a bit of a mid forward sound signature, with excellent clarity and air throughout the range, the bass digs deep and is very articulate, the mids have a habit of bringing out all the detail in recordings but not in an unpleasant way. The highs are airy and well extended, without fatiguing properties, overall a very comfortable and enjoyable listen. The New primacy manages to be a very coherent sounding hybrid design, with a very well textured and layered sound.
Our top pick for under £500 is the Dunu DK-3001, with impressive technical capabilities that are really enjoyable to listen to as well. Punchy and clear sound with a wide soundstage, these are truly excellent.
The Dunu DK-3001 is a very well done hybrid IEM, the bass is dynamic and punchy, with excellent and realistic body. The midrange is well layered and very detailed, with a hint of smoothness to it. The highs are always present, yet not fatiguing. These work well with all genres, the bass is fun and energetic in EDM, and rock comes across with detail and layering. Jazz has a very natural tone, and they just take all genres in their stride, however their ability to control heavy metal is truly impressive.
If you don’t mind the open back design, the Audeze iSine20 will offer a listening experience more like a full size headphone than an in-ear model.
Offering an open sound with excellent punch the iSine20 offers a relaxing listening experience with slightly polite treble. Keeping in tone with their house sound the iSine20 offers good bass quantity with non-fatiguing treble and a natural tone. This is a very unique IEM that is well worth looking into if you want a more traditional headphone sound. The sound is slightly v-shaped; it’s a warmish, ‘fun’ tuning yet still retains excellent detail retrieval.
The W80 are an incredible performer, with a very detailed, spacious yet smooth sound plus an added Alo Audio cable you are sure to be impressed. Fitting 8 BA drivers into this tiny housing is no easy task, yet Westone have done it without sacrificing anything at all.
Some of the most comfortable IEM’s available; the Westone W80 is a pleasure to use for long periods of time, especially with their non fatiguing sound. The bass has body and impact adding a little warmth to the overall sound, the midrange is smooth and non fatiguing, yet the finer details still shine thought. The treble is slightly relaxed but still retains a certain level of sparkle and extension; they are not analytical but still extract the finer details with ease. A very well balanced IEM, that is comfortable and easy to listen to.
The FI-BA-SST35 is one for the detail lovers, being very unforgiving of the source material you will want to listen to well recorded music to get the most out of these.
Final are kings at squeezing the most out of one single BA driver, and the FI-BA-SST35 is no different. Using their proprietary BAM design they move more air, and dig deeper than most conventional single BA driver designs. The bass is always well controlled but offers good impact and articulation without becoming overwhelming or adding much body to the overall sound. The midrange changes depending on the track you are listening to, yet is always very detailed and very transparent. The treble is not fatiguing yet offers incredible insight into the recording, again play well recorded tracks and you will be rewarded with great sound. The soundstage and separation are both excellent, and the timbre is very good for a single BA driver.
Televisions have changed recently; where there was once only one speaker facing forwards, now there are speakers all over the place. This can make for an immersive experience, but many complain of finding dialogue hard to follow; mumbling actors, sound effects and soundtracks all take their toll as well as speaker placement and our fondness for wooden flooring, which sends sound reflections all around the room.
Since the Thomson WHP3311 can work with any equipment which has a 3.5mm headphone socket, these wireless headphones are also perfect for listening to music while moving around the house or relaxing in the garden. If your TV does not have a headphone socket or only outputs digital audio, please see our guide for how to best deal with this HERE. Also, check the guide if you wish to use the headphones and also have the TV speaker working; it all depends on how you connect the equipment.
Wireless headphones for TV use have been around for a long time now, but many are put off by the relatively high price of some sets. Step forward Thomson, with a solution for under £40!
Pros:
Wireless audio
Ideal for TV use
Transmitter also charges headphones
Comfortable
Cons:
For £39.99, how can there be a con?
Design and Appearance
The WHP3311 is quite utilitarian in design; it will win no fashion awards but if we are wearing them indoors, who’s to know? The base unit, or transmitter will sit near to the audio source or TV and will blend in quite well, with a black gloss finish. The base unit doubles as a stand for the headphones for between uses, and will also recharge the headphone’s batteries.
There are three channels, selected using a switch on the base unit. If there is any problem with local interference, selecting one of the other channels should solve this.
The headphones can be worn for extended periods; however as the earpads are made of leatherette things can get a bit sweaty under there but it’s not a big concern. Also glasses wearers need not fear, there is no discomfort from earpad pressure on the arms of the glasses.
Durability and Build Quality
Construction is lightweight and designed for comfort whilst being used in a domestic setting. Build quality is good; although not rugged as such. If care is taken with them, they will last.
Sound Characteristics
The Thomson WHP3311 is a low-cost model and sound quality is fair for the price. Given that headphones are much nearer the ears than the average TV, a definite improvement will be apparent when it comes to comprehending speech, for example.
Summary
Are you getting complaints from neighbours when you’re trying to watch Neighbours? The Thomson WHP3311 is a perfect low-cost TV audio solution to bring back a bit of clarity to dialogue and help avoid losing the plot!
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.
Pros:
Clean sound
Well balanced
Exciting
Cons:
Bass will not satisfy all
Comfort can be an issue for some
Aesthetics, Build Quality and Accessories
The Grado SR80e do not stray far from the classic low end Grado style, with very retro looks that are a love or hate affair. I think there is something quite pleasing about the design; it is wonderfully simple yet stylish and functional. All black with silver lettering, they don’t stand out with colours, but they do with their unique styling.
The build quality is nothing spectacular but you can change nearly every part on it, with an extensive community dedicated to modifying them. The cups are plastic but well put together, the headband is a vinyl covered metal band; the sliders are metal rods in rod blocks. The cable is dual sided, and feels quite substantial, it is rubbery under the y-split and quite thick, above the y-split they are prone to twisting and kinking a little. The construction is so simple, yet it works and they last for years, the foam pads will need replacing from time to time, but apart from that you can expect many years of service from a pair of Grado.
Accessory wise you get a a 3.5mm to 6.3mm jack adaptor, that is it. I know some models now come with the genuine Grado hard carry case which is a nice little added extra.
Comfort and Usage
The comfort of Grados has been talked about a lot, and as with the styling, it is a love or hate affair. I personally don’t find them uncomfortable; the earpads do need some time to settle in as they are a little stiff out of the box. The headphones are very light, they clamp a little tightly but the headband can be stretched to alleviate this. The weight of the headphones and the way they sit means they don’t really create a hot spot on the top of your head easily, even if they do lack proper headband padding. Some people do not find on-ear headphones very comfy, as for pads, the stock are very comfy but the L cush from Grado are even better if you want an upgrade.
The SR80e are an open back, on-ear headphone so they will not isolate from outside noise, also this means they leak sound. This means that using them around other people can cause annoyance, so please be considerate. There are benefits of an open-back headphone for out and about usage, you stay aware of your surroundings.
These headphones are perfect for home listening too; especially with the recent vinyl boom these play wonderfully with a good vinyl setup.
Contrary to the belief that open headphone have a wide soundstage, Grado have a very unique sound for an open back design, being airy but very intimate, engaging and slightly aggressive.
Bass
These are not for the bass heads of the world; these are for those that appreciate the quality over quantity. The Grado of old used to be considered a little bass light, yet the new E series has more articulate and present bass response. It is far from being overwhelming but it is tight and fast, yet at the same time incredibly articulate. Bass guitar lines are so easy to follow, kick drums hit with authority and the PRAT (Pace, Rhythm and Timing) is class leading at this price. The bass fills out the sound keeping it exciting, yet they are so controlled, never encroaching on the rest of the frequency range.
Midrange
The SR80e has such a clean midrange; this is partly due to the incredibly well controlled bass. The midrange has no big dips or peaks; it is relatively well balanced handling male and female both with ease. Distorted guitars in rock music have power and authority, and the air and layering in softer acoustic and slower rock is excellent.
Treble
These is a bit of a peak in the treble but it does not induce fatigue or harshness, the old SR80 was slightly leaner sounding which lead them to be a little more fatiguing. The treble has been toned down a little over the ears, and they have become a more balanced sounding headphone. The peak brings out energy and sparkle in the initial cymbal crash in music, making them really engaging and not lacking up top at all. The treble is still refined though, and does not sound strained or forced.
As stated before the SR80e has an airy sound with excellent separation, however the soundstage is very small and intimate sounding.
Conclusion
The SR80e is a real step forward for Grado, toning down the highs a little, adding a little extra bass presence has made these less fatiguing and more balanced sounding. 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.
Modifying
Now there is a whole community dedicated to modifying Grados, which can improve their sound for very little money sometimes. Please be aware that modifying them will void your warranty, but the benefits can be great. For under £200 you could have a set of wood cupped Grados that will sound nearly as good as their higher end models, and will be unique to you.
Here is an excellent thread dedicated to this:
And I personally have a pair of SR60e which I replaced the cups and put dynamat on the back of the driver, along with getting some L cush pads and changing the cable. They are incredibly light and comfortable for long listening and the sound is just really fun. What I personally really like about the Grados is their way of allowing you to enjoy the music rather than try and pick flaws in it.
Pioneer’s a big player in the audio field, and their new full size headphones certainly went down well at London’s recent Canjam event. They’ve other smaller offerings too, such as the in-ear SE-CH9T; we take a listen.
Pros:
Removable cable
Mic/control for answering calls
Well controlled bass
Pouch included
Cons:
Relative lack of accessories
Sound lacks refinement/detail
Design and Appearance
The outward appearance of the cosily-named SE-CH9T is fairly standard, although on closer inspection the capsules look like they’re half Shure SE215 and half SoundMAGIC E10. There’s a fairly small Shure-like capsule which looks to give some space behind the driver; this works in conjunction with the ‘air-flow control port’ to usher out all those unwanted reflections within. Leading to the actual sound nozzle, there’s a striking copper-coloured aluminium protrusion which itself houses an inner nozzle made of brass. This ‘enables tight and punchy bass’ according to the packaging.
There is a mic/control on the cable; this is of the single button type, so no volume controls. The SE-CH9T is suitable for use with both Android and Apple handsets though, and is removable with MMCX connectors.
It’s generally a sensible, understated design but for the copper-coloured nozzles which give a splash of flamboyance.
Durability and Build Quality
The SE-CH9T is a very well constructed earphone. The twisted cable is strong and pliable; the 90 degree jack is small and stylish and strain reliefs look as if they get the job done. As with a few other similar designs however, no such strain reliefs are on the mic/control unit, perhaps they are not so crucial in the middle of a cable.
Accessories are minimal; a pouch is provided along with a selection of eartips and two ‘connector shields’ which we think go over the ends of the cable where they meet the capsules. We’re not sure why though.
Once a comfortable fit is achieved, the earphones can be as good as forgotten. For this reviewer, a shallow fit works best as the sound nozzles are relatively wide at around 7mm in diameter. A deep insertion is not an option here, but may be for you.
The cable is supple and doesn’t offer any resistance to movement, but there is a chin slider to prevent any unruly cable behaviour, if needed.
Sound Characteristics
The Pioneer SE-CH9T is a bit of a break from recent bass-heavy models such as the SE-CX8, release a couple of years back. Overall the presentation is on the warm side of neutral, with a bit of bass emphasis and upper midrange presence too. The sound has a certain ‘ungarnished’ quality about it.
Bass
Extension is low with the bass; it’s wide and deep, but there’s no more of it than necessary to add a touch of rumble if called upon. Bass is well controlled and tight; there seems to be a bit of a gap where it gives way to higher frequencies though; this isn’t a deal breaker but makes the midrange appear slightly detached from the bass.
Mids
The slightly forward upper-midrange gives an impression of a clean and accurate sound; it tends to pick up instruments like brass, percussion and electric piano rather than male vocals, although female vocals do get a bit of ‘centre stage’ treatment. There’s a decent amount of detail here, but there is also a touch of graininess, or lack of detail which carries on up into the treble.
Treble
The balance of the SE-CH9T’s treble with the other frequencies makes it almost understated and relaxed; it’s a pretty smooth transtion from the upper midrange but the treble prefers sitting in the shade. The treble does lack refinement, but Pioneer decided not to make up for this by emphasising these frequencies, and that’s pretty welcome.
Soundstage and Separation
There is a good breadth to the sound, but instruments are less distinct than they could be. The harmonics which help to give instruments their character and form are not clear enough, and we’re left with a slightly smeary presentation with the instruments overlapping and bleeding into each other. It’s not unpleasant, but there are earphones at this price which do this better.
Music genres good for and why
The strengths of the SE-CH9T lie in the bass and midrange regions, but the tight bass wins out. Modern dance, R&B and pop will do well, with acoustic and classical taking second place. There’s a danger of the sound seeming a bit lean if there is not a fair level of bass warmth in the recording.
Summary
Pioneer’s new SE-CH9T earphones are pretty straight-laced if compared to some previous models such as the ‘Club Sound’ SE-CX8, and we’re tempted to suggest that Pioneer is growing up. However since Pioneer turns 80 next year, we won’t.
The SoundMAGIC ST80 is the perfect companion for sports enthusiasts, with a big helping of bass, yet crisp and detailed mids and non-fatiguing highs they are sure to keep you motivated on the move.
Pros:
Overall sound quality
Fit
Build quality
Cons:
Possibly a bit too much bass for some
Aesthetics, Build Quality and Accessories
The SoundMAGIC ST80 looks like most other earhook sports headphones, with a rotation behind the ear hook to securely hold them in place, and a small housing that goes into your ear. There is a battery pack on the cable, with a clip to clip it to your clothing, and a small remote. I think they look great for a sports headphone and do not stick out too much, I also like the black and red cable linking the headphones to the battery pack.
The build quality feels sturdy and these should hold up fine to daily sports activities very well, the cabling feels good, the headphones themselves are a mixture of metal and plastic. There is good strain relief on the connections and being Bluetooth means less cabling to fail, the cable is detachable though (screw on) and also included is a regular audio cable with controls.
Accessory wise you are spoilt for choice, with a nice clamshell carry case, 2 cables (one Bluetooth, one regular with mic and controls), an adaptor that splits the audio and microphone cable for use with computers, USB charging cable, phono adaptor that changes the pinout for apple/android, cable clip, S/M/L Comply foam tips, XS/S/M/L sports silicone tips, S/M/L regular silicone tips and also a pair of bi-flange tips. This amount of accessories and tips means you are guaranteed to find a secure fit, but also have something to store them in when not in use.
Comfort, Isolation, Cable noise and Ease of use:
The ST80 take a while to get used to fitting, once you get the hook behind your hear it is quite easy to get a good fit. The fit is nice and secure due to the earhooks keeping them in place, but the earhooks are soft enough to not cause discomfort. I find them to be very comfortable once you get a good fit and would not have problems wearing them for extended periods of time.
Isolation is good, not as good as fuly sealed units, but enough to block out most of the world around you when you are out jogging, just be careful when crossing the road or are around cycle paths. The good isolation also means they won’t leak sound outwards and annoy people near you.
Cable noise is very low on these, which is important for a sports headphone.
I found the ST80 paired over Bluetooth quickly and easily, I had no transmission issues and the remote was easy to use, if you long hold the volume up it changes track, instead of the usual double tap of the middle button. Something you will need to get used to, but nothing problematic; They charge easily via a microUSB port on the battery pack.
The low end is slightly boosted on the ST80, keeping an upbeat and always present bass line keeping you motivated when out at the gym. Luckily the bass is not a bloated mess, it can extend low and you can feel it as well as hear it, but it does not veil the mid range too much. I find the impact of kick drums to be very impressive, and bass guitars are also very articulate, the only thing they don’t do so well is fast paced heavy metal.
Mids
The mids are slightly behind the bass in overall quantity, but they are still easily heard, female vocals sound a little better than male vocals. Overall though, the crunch from guitars is aggressive when called for, and there is a good amount of crisp detail. What is very good in the mid-range is the spacial cues and separation, being quite open and expansive.
Treble
The treble is very well reproduced here, again it takes a slight back seat in the overall sound but it still retains good clarity and air. It does not sound up front, leaning towards a darker, bassier sound. These won’t be for those who want the clearest sound, but for those looking for a fun sound whilst out and about they are perfect.
The soundstage is intimate, but the separation is good.
Conclusion
The SoundMAGIC ST80 can compete with the big boys, like the Sennheiser HD1 in-ear wireless, the ST80 have a bass oriented sound signature but with good clarity overall. The bass is the driving force behind these, but the mids cut though the mix very well offering excellent detail retrieval. The highs are slightly dull which leads to an easier listening experience but not the best overall balance.
The design lends itself to sports use, and the sound for that use is perfect, a nice big bass beat to keep you motivated, but without masking the rest of the sound.
Trinity Audio Engineering hails from the good old UK and has had various Kickstarter-backed offerings lately. Due to the success of these, the brand is now gaining traction and is spreading throughout the population. So, does the Trinity Audio Vyrus require quarantining, or is it not to be sneezed at?
Pros:
Nice selection of accessories
Decent case
Tuneable sound
Braided cables
Cons:
Nozzles can be fiddly
Design and Appearance
The Trinity Audio Vyrus looks pretty good with braided cable, metal jack/Y-split and capsules all vying for our attention – but the nozzles are a point of interest. These are removable and can be changed for a pair of the included alternatives. Generally, purple for more upper mids/treble, and silver for more bass and a ‘V’ shaped sound. The gunmetal nozzles (fitted when new) are neutral.
Also there’s a decent amount of eartips to ensure there’s no problem with depositing these Vyruses in your ears, and a funky triangular case for storage/travel. There’s some nice extras too. Since the Vyrus can be worn with either the cable dangling down from, or going over the ear, then there is an extra cable for those who prefer the latter option; this has bendy bits for keeping the Vyrus in place over the ears. Also there’s a 90 degree jack adapter (the jacks on the cables are straight) and the usual 6.35mm adapter/shirt clip.
Durability and Build Quality
There are no weak points here; it all seems up to the job with a decent knurled metal jack, nicely braided cables which are supple and strain reliefs at the jack.
Comfort
Comfort is decent for an in-ear design; particularly if the ‘over the ear’ wearing method is used, the earphones are firmly planted and can be forgotten, leaving just the music.
Sound Isolation
Isolation can be very good; just be aware that this can depend on the way in which the earphones are worn. With a little experimentation, a good seal between ear and eartip can be achieved with the included tips.
Sound Quality
The tuning can be tweaked using the supplied nozzles; there are four basic types to take us from enhanced bass (silver), through neutral (gunmetal) and treble/neutral (gold) to the bright dizzy highs of the treble filters (purple). For this review the neutral/gunmetal filters are used, but changing these does make a noticeable difference in either direction toward a brighter, clearer sound or a smoother, bassier one.
Bass
Bass has a nice rounded quality; not too tight or too loose. It reaches low, and those kick drums or that double bass can really cut through the mix and make the floor shake. It might have some power but is well behaved; midrange is unaffected.
Mids
Lots of space here; reverb is allowed to decay in a leisurely way which is quite a treat, but then the slightly blunted harmonic detail here helps it along (this is with neutral filters don’t forget). Vocals are similarly mellow, but clear.
Treble
Treble is well balanced with the rest of the presentation; it’s laid back but pleasant, with percussion and hi hats making their mark without causing any uncomfortable peaks in the frequency response.
Soundstage and Separation
Soundstage is good; some instruments can jump out from behind others to give the ears a pleasant little nudge. Very nice, along with separation/imaging which is very cohesive – this is improved by use of the treble filters.
Conclusion
The bass or neutral filters make the Trinity Audio Vyrus ideal for pop, R&B and dance music. With the treble filters, classical, acoustic or jazz gets a good treatment – these are some versatile earphones!
For the asking price, the Trinity Audio Vyrus is very good value; the inclusion of the filters makes these earphones perfect for those who want to experiment and find out what different tunings can do for their music. For the same reasons, these earphones make a perfect gift for your exacting friends or relatives; so give someone a Vyrus today!
