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Meze Rai Penta 5 Driver Hybrid Earphone Review

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Meze Rai Penta

Aesthetics and Build Quality:

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

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

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

Comfort and Isolation:

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

 

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

Sound:

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

 

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

 

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

 

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

Conclusion:

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

 

Sound:  4/5

Comfort: 5/5

Build: 5/5

Value: 4/5

Final B Series Review & Video

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Final B-Series Review Video

Final Audio’s latest release is their B-Series of earphones, the B1, B2 and B3. Drawing on their years of experience and learning from previous releases such as their E-Series and MAKE series, the new B-Series range of earphones looks to take Final to another level with a brand new concept.

This is new territory for the leading Japanese brand, incorporating multiple driver setups for the first time in their standard range of earphones. As ever, Final like to do things differently, even when it comes to naming their earphones. For the B-Series, they decided to step away from the normal naming order based on price. These models are named based on when they were made. Final believe that price shouldn’t dictate quality, with each model having their own style and characteristic. It’s a philosophy which shows Final’s value in every product they create.

B1

So let’s meet the team. The hybrid dual driver Final B1 comes in at around £600 and in terms of design, stands out the most. The housings are made using stainless steel, with a mirrored rose gold finish. Inside each housing is one balanced armature driver and one dynamic driver, both developed by Final themselves. The silver plated copper cable adds the finishing touch to this stunning earphone. Sound wise, the B1 has been tuned to put you right in the middle of the action, with a lively sound that delivers clean and punchy bass, rich mids, and crisp resolution.

B2

The single driver B2 is priced just under £260, with a more understated design choice. The stainless steel housings this time have a brushed gun metal finish, providing a more sleek and elegant look. Inside is a single balanced armature driver, again developed by Final. The replaceable cable is OFC copper and the cable has a black coating, which compliments the design as much as the sound. Sound quality from the B2 is all about clarity and clean detail. Vocals are realistic and present among the naturally reproduced instruments. Overall the B2 delivers a more neutral and perceivably accurate sound.

B3

Last, but by no means least is the dual driver B3 coming in at just under £440. The Final B3 has their stainless steel housings finished in frosty silver, and along with the replaceable silver coated copper cable they have a bright and fresh look about them. Inside the housings are two of Final’s balanced armature drivers, which have been tuned to provide the most in terms of width and space out of the three. Soundstage is very impressive, and the top end extension will allow you to pick out the most delicate of sounds.

The Range

The B-Series earphones have all been designed to fit perfectly in the ear. The unique shape has obviously been chosen not only for its looks, they are all extremely comfortable (for me, anyway). They are impressively small and the shape allows them to sit in my ear with ease.

All three models are packaged in a very attractive box, and supplied with a silicone carry case, cable ear hooks for added support, and a selection of Final silicone eartips in a number of different sizes. (Check out our unboxing video for the B3 to see what we mean!)

With the B-Series, Final are showing that they mean business, challenging the likes of Shure, Westone and Campfire Audio with their high design and impressive sounding IEMs.

Lypertek PurePlay Z3 True Wireless Earphone Review

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Lypertek PurePlay Z3

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

Effect Audio Ares II vs Eros II Comparison Review

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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!

Optoma Nuforce BE6i – Trendy Transmission

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Optoma Nuforce BE6i – Trendy Transmission

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

Pros:

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

Cons:

  • Charging port is a bit fiddly

Design and appearance

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

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

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

Durability & build quality

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

Comfort

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

Sound characteristics:

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

  • Bass

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

  • Mids

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

  • Treble

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

  • Soundstage & Separation

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

Music genres good for and why

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

 

Summary

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

Etymotic ER3-SE and ER3-XR Earphone Review

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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.

Whizzer A15 Earphone Review

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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.

Sennheiser IE80s Earphone Review

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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.

Sennheiser HDV 820 Headphone Amplifier / DAC Review

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Sennheiser HDV 820 Headphone Amplifier / DAC Review

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.

Questyle CMA400i DAC / Headphone Amplifier Review

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Questyle CMA400i DAC/Headphone Amplifier Review

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.

Hidizs AP100 Review – A Sturdy Source Of Solid Sound!

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Verdict

The Hidizs AP100 is a great media player. I look forward to future firmware updates but in the meantime the UI is quite useable, and the unit gives a clean, uncluttered sound with a decent amount of power. This is an amazing first effort which begs the question; whatever next from Hidizs?

Pros

  • Built to last
  • Neat, useful carry case
  • Large clear display
  • Firmware can be updated
  • Sounds superb at this price point
  • Internal data/file storage

Cons

  • Button layout may need getting used to
  • Micro SD card could be easier to insert and remove

If you like your brand names to look like the first line of an optician’s eye chart, the Hidizs is certainly worth considering – the name might take some getting used to, but it’s plain to see that this player is getting some covetous glances! The Hidizs AP100 has some stiff competition in the low-cost DAP (Digital Audio Player) market, not least from FiiO’s ‘X’ range. The Hidizs AP100 appears to be a halfway house between the Fiio X3 and X5 in terms of size and cost.

Key Features

Inputs and outputs are well represented; both headphone and line-out sockets are present on the top and a separate 3.5mm coaxial in and coaxial out can be found at the base of the unit. Volume buttons are side by side on the front, and on the left side there are both the source/SRC and EQ buttons. Being capable of playback at up to 24bit/192KHz, the SRC button can select the bitrate the player works at. The EQ button scrolls through available presets, and the user can define their own preferred EQ settings.

The case is a really nice design; it is enough to protect the AP100 without bulking it out, and has an understated look much like the player itself. The case is made from a synthetic leather-like material which looks quite durable.

The battery lasts a good long while, and although no precise measurements were taken, there was a good amount of playing time between the ‘low battery’ warning and the player turning off – maybe an hour or two. My experience with the Fiio X3 gives little chance to enjoy music before the unit runs out of power – perhaps 20 minutes at most. Helpfully, the status of the battery is given as a percentage on the screen when charging the unit, so we can make an informed choice of whether to leave the unit charging or to take our chanced with what power is there.

First Impressions

The buttons on the Hidizs AP100 are lovely to press; there’s a great chunky feel to them and they are good solid buttons which will last. Someone said that they are reminiscent of Gameboy buttons – certainly the placement of the volume buttons on the AP100 give a flavour, but they are the kind of buttons that let you know they’ve been pressed – there’s no doubt involved as with touch screens and wheels. The only problem is that Hidizs saw fit to add separate buttons for ‘fast forward/rewind’ – usually the same buttons are used for track skip and forward/rewind, but not on the AP100. Also the ‘back’ button is on the right of the other navigation controls, which makes it feel like a forward/select button; this may lead to a few wrong turns for the uninitiated but it’s easy to get used to.

Sound Quality

Compared to the Fiio X3, the AP100 is a little more accurate and coolish but this is not to say that the AP100 is harsh. Listening to unyielding and brittle-sounding early 80s pop such as Duran Duran is fine on the AP100 but the X3 just gives it a bit more warmth and roundness to a presentation – the AP100 wins in terms of detail.

Compared to the Fiio X5, the sound is extremely similar; the X5 comes across as just a little smoother up top. Soundstage and imaging are similar, but with just a hint of edge to the sound on the AP100 which brings up harmonics a little more.

Added to that, the AP100 holds enough wherewithal to power some less than sprightly headphones such as the HifiMAN HE-400 very well, so the need for a separate amp is lessened.

Summary

An excellent player with a bulletproof design. Solid and reliable, the Hidizs AP100 gives a similarly solid sound and user experience. The sound quality and power gives amazing results, however less sensitive headphones may need a little help. The Beyerdynamic T1, at 600 ohms/102 dB gets up to a good level, but quieter recordings will be lacking in headroom. In our opinion, it bridges the gap between Fiio’s offerings and Astell and Kern’s AK100 but at a very favourable price.

Score 9.0

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Fidue A83 Earphones Review – Hybrid Unbridled

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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

Final Audio Heaven VII Earphones Review

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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

 

Audio-Technica ATH-MSR7 Review – The Dark Horse From Tokyo

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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

Sennheiser Momentum In-Ear Review – Shrunk Down Chic

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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