INTRO

For those not familiar with the Drop Grell TWS1X, Grell was founded by one of Sennheiser’s top designers Axel Grell so there are high expectations from those aware of the association. For the rest they might be unaware of the wonderful products Sennheiser has created throughout the years.

If you peruse their about page it reads just like any other direct to consumer breakout brand forked out of a legendary following, promises of high quality parts, cutting edge tech, but with a direct to consumer pricing model.

Ever been in one of those relationships that you do not know how to describe and default to the cliche- It’s complicated? That is how I feel about the Drop Grell TWS1X. The sound is another wonderfully tuned Harman profile with lower bass boost absent of midrange bleed, a mild treble plateau that gradually fades with good technical abilities and features that sport a working ANC feature set.

Disclaimer: Thanks go out to Drop sending a free pair and for trusting me to review these as a first time product for Audioreviews. I hope they are not too let down by my critique, but we also need to be honest to readers-no sides taken. Price as tested $200. Tested with Firmware version 2.8.0

GOOD TRAITS

• Harman Sound Profile
• Small Wireless Charging case, also USB-C
• Case Charge level indicator
• Transparency Mode
• ANC/NAR mode works well
• IPX4 Splash Proof

NEEDS IMPROVEMENT

• Manual not descriptive enough a quick start guide with universal pictures, but no manual to describe the features or SoundID.
• Fast Battery drain during storage
• Fitment-short nozzle stem
• Awkward pairing issues, sometimes only one connects if you put the wrong side in first.
• Storage orientation is opposite (Left earpiece on the right, Right earpiece on the left)

MODES

There are essentially 4 modes of operation

1. Normal (Transparency Off, ANC Off)
2. Transparency On
3. ANC ON
4. ANC ON + NAR ON

ANC, NAR and Transparent modes are not explained in the manual other than how to switch them on/off
Transparent is fairly obvious for an experienced user, but not a novice.
ANC=Automatic Noise Cancellation
NAR=Noise Annoyance Reduction (Not much information on what this does)
Switching between the modes is weird. Sometimes it says ANC on/off, other times it says NAR on/off with a 1 sec hold.
Pop noise when turning ANC mode ON.

COMFORT / CONTROLS

I don’t own a lot of wireless IEM’s because I have trouble keeping them in place. My only other pair is the wonderfully fabulous Sony WF-1000XM3, but even those I struggle with to keep them in place. I prefer something that locks in place in my ears.

So this is a bias I have and wanted to point out the Drop Grell TWS1X does not make this better. The stems are short, the ear wings don’t seem to help, and therefore I had to resort to using foam eartips which was still not enough to keep them in place if in moving around situations.

The controls on the Drop Grell TWS1X are divided amongst both sides so that volume (right side) and track changes (left side) are not confused with each other. In addition to that, Play/Pause on the right, and ANC/Transparency single taps are on the left. Upon inserting them into your ears, there is not much area to grip and I found myself cycling through modes as I inserted them or activating Google Search.

The responsiveness of the touch sensor was about equivalent to the Sony WF-1000XM3, however there were times I wish they would pause sooner. I had seen discussion that there is some delay to prevent unwanted commands from occurring.

Note: Firmware updates for the Drop Grell TWS1X are done through the SoundID app, which also allows a user to apply a personal EQ to earphones in their database, which is quite large. It appears to be similar to an app called Neutralizer. The SoundID app is a Sonarworks product, and not specific to the Drop Grell TWS1X.

PACKAGE CONTENTS

• Charging case with Wireless Charging
• USB-A to USB-C charging cable
• 3 pairs of silicone eartips (S, M, L)
• 2 pairs of foam eartips (M, L)
• 3 pairs of wingtips (various fits)

SOUND

Ok having moved past the hiccups with operation, the sound of the Drop Grell TWS1X is quite enjoyable. With modern music the bass blooms in the bottom end, yet I sense some compression action occurring most likely from the built in amplifier. With music that does not utilize the lower octaves, it comes of sounding balanced and tighter.

Activating the ANC mode adds even more echoing bass boost which again is fairly typical of ANC earphones that are designed to cancel out constant noise signals typically centered throughout the bass region and lower midrange.

Airplanes, public transport and lawn mowers are typical good uses. Since the boost is focused purely towards the bottom octaves, they avoid bleeding into the lower midrange.

Midrange is set forward, with a very intimate dry sound. Treble has good presence keeping things lively and delicate at the same time. Peaks and such are well controlled, for me the treble is the star of the tuning.

If I had to nitpick perhaps it could use a sprinkle of more airiness. Strings, flutes and cymbals are very natural sounding. If ANC is active and the NAR is turned on, I pick up some boost in the treble as well but it could all depend on what the ANC is trying to cancel out too. The NAR is sort of a mystery.

TECHNICALITIES

Timbre is fairly close to natural, the Drop Grell TWS1X favors width over depth, imaging is excellent and spacing is clearly delineated. Height information is mostly maintained on a level plane, with average lift. Volume is limited on these, occasionally I would catch them quickly ramping the volume down when activating the ANC as if they could play louder if allowed.

Transparency mode is useful in an office setting, or possibly in an active usage scenario, however as mentioned before I could not get them to stay in place with even a simple walking exercise.

The microphones are very sensitive so they pick up wind noise and whispers sound unsettling loud. You could potentially ASMR yourself using the transparency mode. I would like to see if this could be simmered down with future firmware updates maybe?

COMPARISON

Sony WF-1000XM3 (Discontinued street prices $50-150)

While both the Drop Grell TWS1X and the Sony WF-1000XM3 both utilize apps to control and EQ, the Sony requires the app to control the earphone settings. There is no way to access some of the features without the app.

The Drop Grell TWS1X on the other hand allows you to cycle through the different listening modes on the earphones themselves. The WF-1000XM3 is fully customize-able for the transparency mode though.

The Drop Grell TWS1X sounds more balanced than the V signature of the WF-1000XM3. Mids sound recessed on the Sony after listening to the Grell. The Grell also has a more rounded treble that allows many instruments to shine as opposed to the one note treble feel of the Sony.

The Drop Grell TWS1X has wireless charging while the Sony does not (winner TWS1X), but then fails on battery drain just from sitting around (winner 1000XM3). This seems like a toss up, except its more of a nuisance to grab a pair of dead earphones then be inconvenienced by having to plug them in to charge.

There is one final thing to note, when I bought my Sony I did some research that technically the battery can be replaced if you are handy. I don’t know if the Drop Grell TWS1X battery can be accessed without destroying the earphones. I might just be a nerd in this regard to worry about such silly things, but something to think about in our throw away society.

COMPLETION

Most of my concerns (and others) for the Drop Grell TWS1X appear to be the user experience, so if you can overlook the functionality quirks they are a wonderfully sounding set with nice features comparable to the Sony WF-1000XM3.

I know they are trying real hard to work through peoples’ concerns on head-fi and Drop so that is a glass half full half empty scenario. They are receptive to solving people problems, but it would be nice if there were no bugginess in the first place, I am referring to the single side pairing conundrum.

My two biggest gotchas are fitment and battery drain. Nothing more frustrating than having to charge them once a week even if not using them. However my biggest disappointment is that I cannot use them in more active situations.

This is the most frustrating part for me because the sound tuning is excellent and the ANC passed my lawn mower test. So if you plan to use them in a stationary situation that requires ANC or even just wireless usage, and don’t care much about the battery drain these are a wonderful set of wireless ANC IEMS.

SPECIFICATIONS

Contact us!

DISCLAIMER

Get it direct from DROP.

Our generic standard disclaimer.

About my measurements.

The post Drop Grell TWS1X Review – Ambition Meet Frustration appeared first on Audio Reviews.

INTRO

OneOdio has sent me several of their products and I thought I was finished after the trilogy of the Wireless C, Pro 10 and Monitor 60, but then they asked if I was interested in their latest open back OneOdio Monitor 80. Of course I wondered what could OneOdio do with open back designs since none of their previous offerings were of this variety, the answer is something with delicate silkiness intimate and non-fatiguing.

GOOD TRAITS

• Non-Fatiguing sound signature
• Good height reproduction
• Lower volume listening preferred due to the boosted warm bass presentation

NEEDS IMPROVEMENT

• Stinky chemical smell with the hard zipper case
• Detail retrieval

PHYSIQUE

The OneOdio Monitor 80 over ear open back is clearly destined for home/stationary use with the 250 ohm impedance and large stature although they provide a fold-able design and hard carrying case. It comes with two long adapter free cables, one coiled and one straight. The adapter free design is something carried through on almost all their models where one end is 3.5mm and the other a 6.35mm or ¼ single ended plug that can be switched around to be plugged into one side of the headphones and the equipment it is connected to.

The headband on the OneOdio Monitor 80 is that same larger one used on the Monitor 60, but with one minor but important change, a 45 degree offset swivel that is also travel limited. This simple change reduces the chance of the ear cups flopping down. A straight earcup swivel is beneficial for DJ one cup usage but annoying any other time. There was a little squeakiness in one of the swivels, but that is fairly standard for plastic on plastic designs.

Fuzzy heavy grain plush covers the earpads, not as fine of a texture found on the Philips Fidelio X2HR or the Sennheiser HD6XX for example. The padding has plenty of give I rate it as medium firmness again in comparison to the above two models. The earcups are also denser than past OneOdio models and gives off a lower noise when tapped on. I rate the density of earcup plastic on the same level of the Philips SHP9500 and tick below the X2HR.

PACKAGE CONTENTS

• Hard Zipper EVA Carrying Case
• Coiled 3.5mm to 6.25mm 1.5-3.5m long cable
• Straight 3.5mm to 3.5mm 3M long cable
• Headphones with Adjustable band, velour earpads and swivel articulated earcups

SOUND

I forget what a pleasure open back headphones deliver in positional staging since I spend more time using IEMs. The OneOdio Monitor 80 present nice width and height, with no crowding. Depth is defined nicely too. Macro details are excellent, it does fall a little short on micro details. It’s not as noticeable unless directly comparing say the Philips X2HR (Orig $300 now $150) or Sennheiser HD6XX ($200).

The Philips SHP9500 ($80) is a closer comparison, but still has improved layering and depth than the Monitor 80. The piano percussion is easier picked up on the Philips SHP9500. Sometimes after a long day, the softer appeal of the OneOdio Monitor 80 is appreciated.

Bass is punchy and warm, a little more peaky than the Philips X2HR with slightly less lower midrange and some low end extension roll off that is normal for open backs. The Philips X2HR edges out the OneOdio Monitor 80 on Bass and Cello in terms of fullness. While the Philips X2 and Philips SHP9500 is considered quite bassy for open backs, the Monitor 80 brings it up a notch.

Female vocals sound a little shrill and recessed compared to the Philips X2, but perhaps it is not fair comparing an originally priced $300 headphone to a $100. Comparing to the Philips SHP9500S is a closer comparison for vocal presentation.

Treble is nice and sparkly albeit smoothed and soft. Just enough of the edge taken off but still very realistic sounding. Listening late at night on low volume was relaxing given the treble still shines while having that extra bass toned down and not lost. At louder volumes, I felt it struggled a bit but it is also highly possible my JDS Labs Atom just didn’t have enough gusto to really amp it up.

OUTRO

The OneOdio Monitor 80 is a great starting point for a budget open back, for warm bass and sparkly highs with above average technical details. My favorite budget pick is still the Philips SHP9500S and if you are willing to stretch your budget, the Philips X2HR is usually around $150 on Amazon. If you don’t already own a headphone amp, the Monitor 80 is going to require you to open your wallet for that accessory as it is a necessity with the 250ohm impedance.

OneOdio is clearly looking to take a piece of the pie for critical home listeners. There is not a whole lot of options between $100 to $150 in open backs, with the exception of the Sennhesier HD59x series or Beyerdynamic DT770 which is known for being analytical and sometimes fatiguing. Hifiman also offers soem planar options near this price range.

The Oneodio Monitor 80 is a rarity in that sense and a good night-time listen when I prefer listening at lower levels. It does not dethrone either of older model Philips but instead adds a nice option if looking for a lighter softer presentation with warmer bass. It is in good company.

SPECIFICATIONS

• 40mm driver
• 100db+/-3db Sensitivity
• 250 ohm Impedance
• 10Hz-40Khz Frequency Respone
• < 1% Distortion
• 1600mW Max Input Power

Contact us!

The post OneOdio Monitor 80 Review – Caution Higher Power appeared first on Audio Reviews.

INTRO

Lately there seems to be an overwhelming desire for budget brands to break into the mid-tier market. There was not a lot of room to wow and differentiate in the budget class and now it seems we are seeing the same happen in what I consider the mid-tier $100-200.

While there is a whole wide range of offerings way upwards of that price range, they are more dangerous to your wallet as it starts reaching bragging rights and earning style points. Those I consider niche products.

The KBEAR Aurora was released an eternity ago in terms of fast fashion IEM’s and the only reason this comes to me now is a color refresh. One of our past reviewers Baskingshark had his go at them. We have some pretty strong $200ish contenders with recent hits such as the 7Hz Timeless now being challenged by the less expensive LETSHUOER S12, and the brilliant Moondrop Kato at $190.

Before that, people were singing the praises of the Drop JVC HA-FDX1 which runs between $200-250. The great thing is that all 3 of those have completely different strengths and tunings. So with value out the window, the KBear Aurora has to stand on it’s own and hope it doesn’t get lost in the sea of choices. I realize these have been out for 6 months and have already been forgotten. Just another NFAudio NM2+ perhaps, but in a better way.

Disclaimer: These were sent gratis via Keephifi and I hadn’t realized they were already released 5-6 months ago. Warm fuzzies were not exchanged until right now while I thank them for sending a pair to check out. I did not pimp my soul to promote these.

GOOD TRAITS

• Good universal fit and solid construction
• Good accessories
• Full sounding bass
• Perfectly sized carrying case
• No sibilance which should be standard for anything trying to sell for over $70. A low bar to clear in my opinion.

NEEDS IMPROVEMENT

• Low value
• Treble lacking in resolution and extension

PACKAGE CONTENTS

As with most Earphones over the $100 mark, the KBEAR Aurora comes packed into an easy open larger package that failed to keep the ears in place during shipment. I don’t typically care, but these are metal earphones so bouncing around in packaging is not a good thing given they can easily leave marks on the housings given the sharp edges on the faceplate.

The matte antique bronze color is definitely classier looking than the gaudy 1980’s neon chrome fingerprint magnet trend of the blue/chrome color. I think they should have released it solely in the matte brown first.

The braided gray snake skin looking cable is highly flexible and microphonic free. I notice the 2 pin connectors fit semi loose into the plugs however. The chrome/blue version sported a blue colored cable of the same style.

Two different sets of eartips, S/M/L of a standard widebore with a normal thickness stem, and 5 sizes of the main set that includes a widebore thick stem the same length of the outer tip.

SOUND

Right away it is easy to pick up the eastern style midrange boost that presents as a very in your face forward vocal. Snares are snappy as they should be. This hot upper midrange is preceded by the medium blend boosted bass that barely tickles the seismic region while going full bore into midbass territory with snappy and articulated fullness. Feels perfectly damped and well balanced with rest of the frequency range if you prefer stew over soup.

The treble on the KBEAR Aurora is the least noticeable asset. Inoffensive, bland and just one of those jobs you have to do but don’t put much effort to complete. The problem with this style of tuning is the upper midrange is so over-powering the treble doesn’t really get a chance to showcase what it can do.

For me the treble gives me the sensation of having stayed too long at the discotheque and consumed too many adult beverages. It is not particularly well defined. This was the same problem I had with the recently reviewed Whizzer Kylin HE03D. I have been ruined by the precision and air of the 7Hz Timeless and the control of the luscious Moondrop Kato.

TECHNICALITIES

The KBEAR Aurora sounds expansive, but lacks in depth. Clarity is only average with some cloudiness in the treble mucking things up. No real issues with the timbre until you get past the lower treble, it’s a single driver tuned in a typical +10db pinna gain in the upper midrange. It is driven easily by a smart phone, and has medium isolation.

COMPARISONS

Earlier there were hints at maybe a NFAudio NM2+ ($159) clone because to my poor memory I thought they were tuned similarly. Upon a review, the NFAudio NM2+ is a really hot intense listen, the Kbear gives my ears a break in comparison. Bass is very similar with the KBEAR Aurora recognizing lower extension is important.

The treble is still a bit chewed up sounding on the Aurora, but the NFAudio has so much upper treble my ears just give up looking for the upper end extension. Point goes to Kbear. Width and spacing sound more balanced on the Kbear Aurora. Fitment and isolation are similar.

The BQEYZ Spring 2 ($169) is another good comparison given the price bracket. The BQEYZ suffers from the droning bass tendencies again showing the KBEAR bass is tuned to be midbass centric as well with subbass only having a minor supporting role. Switching back and forth the BQEYZ Spring 2 can actually sound tiring due to this. Vocals sound smoother and treble is cleaner on the BQEYZ Spring 2, but the KBEAR Aurora seems to present more width in the staging aspect although lacking some treble resolution and extension.

When this was previously released the Moondrop Kato ($189) was just on the horizon, but now it’s available for only $20 more than the KBEAR Aurora. The Moondrop kato is more delicate sounding with a much lighter presentation than the Aurora.

The lower midrange/midbass boost give the KBEAR Aurora a more intimate smaller room presentation, but the treble lacks the resolution and clarity of the Kato. The Moondrop Kato has better resolution, more depth and a lighter airy feeling in comparison as if listening in a concert hall. Width feels comparable.

FINAL REMARKS

The color refresh of the KBEAR Aurora is much more elegant than the original shiny launch color scheme, however other brands have encroached on the pricing territory. It is a capable sounding IEM, I just have trouble recommending it based on value and a cloudy treble region. On the plus it is not a screamer or ear-piercer with most of the focus on the low to middle region, with good build and an above average accessory package.

GRAPHS

• Left vs Right
• KBEAR Aurora vs NFAudio NM2+ vs BQEYZ Spring2

Contact us!

DISCLAIMER

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post KBEAR Aurora (Review 2) – Elegant Color Remix appeared first on Audio Reviews.

INTRO

Thanks to Whizzer for giving us a chance to check out the new Whizzer Kylin HE03D, they did not arrive in a whiz or a jif as expected, but got hung up in the delays our ongoing pandemic has created. Like the similar named Whizzer roller-coaster at the local Six Flags, they provided me with some form of entertainment watching the tracking and perusing their product page on Aliexpress.

The original HE03 was a 3 driver hybrid. Instead these are a $199 ($159 pre-order price) DLC (Diamond Like Coating) 12mm dynamic driver with premium styled packaging, nice “vegan” leather case and 3 different types of easy eartips promising to accentuate various aspects of the earphones. Satisfyingly, they did provide the enhancements they promised so off to a good start.

While I find no enjoyment removing things from boxes and rarely critique packaging, I can see they wanted the unboxing experience to feel premium, with magnetic flaps that satisfyingly snap shut including the manual nicely tucked behind another magnetic flap in an envelope labled “Work of Whiz”.

Upon opening it reveals a jewel like faceplate presentation. The Diamond Starburst is reflected by the 3D curved glass surface in a very beautiful artsy aesthetic. They are correct that different angles catch the luster of the Starburst design by J.IDEA+ Studio.

These attention grabbing solid construction flagship earphones focus on a tight boosted mid-bass reproduction with a neutral middle and an unassuming wobbly top end and an array of eartips for simple tuning. This has to be the longest intro I have ever written.

Disclaimer: Provided free from Whizzer with the only stipulation to review them by February 9^th, unfortunately shipping delays forced me to fail at the only request. I don’t blame others though so pretend this is February 9th as you read this.

GOOD TRAITS

• Feels premium, materials are all top notch
• Varying eartip designs that alter the sound in easily definable ways
• Tight controlled bass due the Helmholz resonator M.D.B.S Denisity System
• Relaxed sound signature non-fatiguing

NEEDS IMPROVEMENT

• Can sound a little dark with the reference eartips, sharp with the soundstage tips
• Resolution impacted by the wobbly treble
• Sounds crowded on a smart phone, amplification helps
• Bass hump higher in frequency impacting sub-bass reproduction

DESIGN

The Whizzer Kylin HE03D sports a full metal shell with tight fitting 6N OCC 2 pin cables marked only one side with a red dot that matches the red dot on the right shell, no other markings to indicate the channel.

Inside there a 5^th generation 12mm DLC dynamic controlled by a Multiple Damping Balance System (M.D.B.S) Density system aka Helmholz resonator to control the airflow in and out of the cavity, while taming offensive resonant frequencies of the cavity of the shell. This is said that in combination of the front cavity pressure damping, it better controls the overtones and noise.

Since this is more of a semi-open system rather than typical venting designs with smaller vents, the Whizzer Kylin HE03D isolation is below average. This is the fourth generation of the Kylin series so I guess maybe that is where the “D” comes from in the naming convention.

PACKAGE CONTENTS

Case

The Vegan leather case is fits the jeweled nature of look they were going for, although just as I found with the TinHifi T4 case, feels a bit too bulging in my pocket. It snaps closed via magnets, just like the rest of their packaging

Easy Eartips

Like Goldilocks, I set out to test the ear-tips, first the “Reference” tips with a large protrusion, they tend to darken them up too much for me, sucking the top end life out allowing the user to focus more on the warmth of the low to middle range. They went on the nozzle and fit well.

Next up was my typical large mouth “soundstage” marked tips I usually go for that included 4 pairs, while the other two kinds only had the typical 3 pair sizing. These caused sharpness and metallic timbre to jump out of the shadows. Again the diameter fit well with the nozzle sizing.

Surprisingly, I preferred the final narrow opening “vocal” tips as it balanced out the traits I picked up with the widebores. The diameter of the vocal tips are smaller, so it takes some finesse to attach. The rest of the review will be based on the vocal tips.

SOUND

Tested with LG V30, Sony NW-A55, Liquid Spark Dac + JDS Labs Atom

To quickly describe the sound, it is warm W absent of sub bass with an emphasis in midrange over upper treble. Right away it was clear the Whizzer Kylin HE03D focused a lot of energy on a tight controlled bass probably due to lows falling off a cliff, with warmth into the lower midrange to add fullness to female vocals.

Sort of similar to open back headphones with a quick fall off. The bass hump is so wide that the bleed is not noticeable, but the lack of sub-bass is disappointing for me.

Treble is subdued but avoids sounding dark unless you choose the reference tips. I liken it to using a fullrange driver to cover midrange and treble- it does a pretty good job at covering the range, but you loose some dynamics that a separate midrange tweeter combo achieves.

Electric guitars take front and center stage with this type of tuning, but I find cymbals to be lacking some shimmer due to the W roller coaster. There will be fans of this type of tuning, but others might find it a little dull and washed out sounding on some instruments.

TECHNICALITIES

I find the Whizzer Kylin HE03D narrow sounding even with the soundstaging tips, I blame it strictly on the lack of upper end extension. As a result of the narrow stage, instrument spacing takes a hit as well.

The resolution is there, clarity is good, but sparkle would aide to bring it up a notch. Phasing is good, but timbre sounds a little metallic.

COMPARISONS

Shozy Form 1.4 ($189)

The Shozy Form 1.4 and the Whizzer Kylin HE03D share a similar warm subdued treble tuning, the Whizzer has a tighter dead bass feel, more focus in the vocal department, the Shozy Form 1.4 sounds sharper due the tight peak in the treble along with a bit more sparkle and luscious more elevated bass. The Shozy Form also comes off as less congested, but it s also a 5 driver hybrid.

Moondrop Kato ($189)

The Moondrop Kato sounds thinner in the bass department given that the bass elevation resides in the sub-bass region compared to the midbass centric Whizzer Kylin HE03D. The Whizzer bass has some more overtones than the Moondrops, but transient speed is fairly close.

Given the Moondrop Kato includes sub bass the winner is the Kato. Hoping back and forth, the VSDF tuning on the Moondrop will sound edgier and more forward in the vocals compared to the Whizzer.

Those who like more focus on the midrange sound will prefer the Whizzer, but at the expense of clarity, vividness, and just the right amount of sparkle to make things interesting that the Moondrop brings to the table.

Tforce YuanLi ($119)

Originally I was going to compare to another Moondrop (Kanas Pro), but chose the Tforce Yuanli instead since it is also a DLC driver albeit a 10mm vs the 12mm of the Whizzer Kylin HE03D. The Whizzer bass is better articulated, but both carry a similar warmth.

The soundstage is less recessed on the Whizzer, whereas the Tforce has more manufactured depth as a result of the V tuning. The Tforce also exhibits a sharpness in the treble, but it messes with the timbre. So while it sparkles more, the boost is too narrow and the Whizzer sounds more balanced in that regard.

I would rather see a broad lift instead of the Tforce’s narrow treble peak. While the Tforce Yuanli is a more exciting tuning, I would prefer the mellow tuning of the Whizzer Kylin HE03D for longer listening sessions.

OUTRO

The build quality and look is a stunner for the Whizzer Kylin HE03D, the tuning is great for those who don’t want the emphasis to be on the treble or the sub bass. Fit is great, feels very smooth, but are also on the larger heavier side. Nice range of eartips and a fancy looking carrying case fit well in this price bracket.

Personally I would prefer more treble extension and a slight lift while pushing the bass peak lower to bring in sub-bass to round out the tuning and give it more pizzazz, but that might not have been the goal.

I cannot comment on how this fourth generation Kylin model compares with some of the earlier models, but from a design standpoint it is very gorgeous to ogle at. It has tough competition in this mid-tier price bracket, and it is not going to be a majority crowd pleaser, not that there is anything wrong with that.

SPECIFICATIONS

GRAPHS

• Left vs Right
• Eartip Plots
• Whizzer Kylin HE03D, Moondrop Kato, Tforce YuanLi Overlays

Contact us!

DISCLAIMER

Get it from the official Aliexpress Store, or various distributors of your liking.

Our generic standard disclaimer.

About my measurements.

The post Whizzer Kylin HE03D (Review 1) – Can Anybody Beat The Whiz!? appeared first on Audio Reviews.

INTRO

Lately there seems to be more and more flat driver tech infiltrating the in ear headphone market. Flat drivers differ in how they produce sound in comparison to dynamic drivers. Flat diaphragm driver like planars rely on the bending characteristics of the material itself to produce sound waves, whereas in direct opposite the dynamic driver tries to maintain it’s shape through various geometries and materials to stiffen it up so that it can act as a piston and minimize bending waves. These two concepts are transverse (planar bending) and longitudinal waves (dynamic piston).

This year I had considered the PMV PP flat planar but then 7hz exploded onto the scene with the 7Hz Timeless 14.2mm flat planar IEM with much fanfare. I succumbed to the temptation and bought a pair to see if this hype was warranted. By now this is probably the 101^th review of these, so I took my time to get on board. 7Hz Timeless dazzles with it’s resolving sub-bass infused Harman tuning or U signature, with analytic grace.

Disclaimer: I had some Amazon gift cards burning a hole in my pocket so I purchased during the 11.11 weekend sale from Hifigo on Amazon. We buy our own stuff sometimes believe it or not.

GOOD TRAITS

• Generous eartip selection
• Clarity, Resolution
• Above average isolation
• Lightweight

NEEDS IMPROVEMENT

• Bass is tuned very low, the transient speed does not match
• Not the prettiest of the bunch
• Channel matching throughout the treble
• Needs more than a smart phone to shine.
• Missing holographic elements

PHYSICAL / PACKAGE

The shape is interesting, the flat round faceplate hides a rather simple shell. The flatness and grooves provide a simple and painless way to insert them into your ears. With rounded shells, I find myself fiddling and losing my grip sometimes.

An unassuming silver twist detachable cable with a simple earhook comes with the 7Hz Timeless. It coils well, and does a good job of avoiding microphonics. They took my favorite qualities except for one, the mmcx connection. Cable snobs will find it boring looking.

The carrying box seems overly large and heavy, looks awesome sitting on my desk and could be used as a defense mechanism in a pinch by chucking at ones head. Surprisingly it doesn’t appear much larger than the Moondrop Kato case and will definitely allow you to know if you forgot to put it into your pocket.

PACKAGE CONTENTS

• Detachable MMCX Silver cable
• Metal carrying case
• 3 sets of S/M/L eartips -Medium Bore, Small Bore, Bowl shaped medium bore with carrying cases

SOUND

Tested with LG G8, Sony NW-A55 and Liquid Spark DAC+JDS Labs Atom

First the very noticeable sub-bass is front and center and the fact it goes so low and is boosted causes some speed issue for me given the rest of the quick and precise nature of the 7hz Timeless. The lift in the bottom end really lets upright bass and bass drums fill your head with extreme lows, but not in the basshead ear tickling ways. Since the slight boost is pushed so low, there is no bass bleed into the lower midrange.

Velvety smooth vocals complement the rise into the upper midrange, there is excellent darkness that allows the midrange to feel the space or environment of the recording. Horns and present flare and sharpness that provides realism, these are not for relaxed listening but instead for enjoying the nuances of the music and deep listening sessions.

Acoustic guitar plucks are rendered with such resolution as to not get lost in the macro details. Snares, cymbals crash through with sharp well defined precision. Sibilance is non-existent unless purposely in the recording, and there is plenty of airiness to make these a lively set.

TECHNICALITIES

Resolution and transparency is outstanding for the 7Hz Timeless. Width and depth are equally balanced and height information comes through as well. It is really hard to find any faults other than they need some power to extract their full potential. On the sensitivity topic, the LG G8 did just ok but I found myself at the higher volume range.

The Sony NW-A55 was a better fit so this is probably one of the bigger shortcomings given IEM’s are normally geared for mobile use. Given their extreme analytic qualities, I find longer listening sessions can be fatiguing because the 7Hz Timeless really demands your attention.

COMPARISONS

Shozy Form 1.4 ($180) vs 7Hz Timeless ($180-$220)

Warmer bass, damped treble, thicker vocals is what stands out when swapping to the Shozy Form 1.4, my go to IEM these days. It offers a more relaxed presentation for nights when I want to wind down. The 7Hz Timeless instead offers a thinner lower midrange with deeper bass registers and more sparkle and more cymbal shimmer. The Timeless invites a more critical listening experience due to the flat soundstage. The Shozy Form 1.4 shell feels more premium, and might add a subliminal cue despite being near the same price bracket.

BQEYZ Spring 2 ($140-170)

Presence region is enhanced on the 7Hz Timeless, just more shimmer and air compared the BQEYZ Spring 2. The Spring 2 sounds warmer with fuller vocals due to the higher frequency bass hump veering towards midbass, it lacks the control of the Timeless as well. The treble enhancement on the 7Hz Timeless gives the appearance of more resolution and clarity but both are solid performers. Transient speed is quicker on the Timeless.

Moondrop Kato ($190)

7Hz Timeless has a flatter soundstage and a U shaped signature vs VSDF signature on the Kato. Bass on the Kato has a 2 channel stereo large tower vibe while the Timeless is rocking a 2 channel system with an audible subwoofer. The Moondrop Kato is more forward and brighter, while the Timeless has an enhanced cymbal linger. Weight is also a factor, both the cable and shell of the Moondrop Kato offer a more premium feel due to the heft factor, but it is also more noticeable compared to the lighter and nimble 7Hz Timeless. The cable on the Kato is approaching lamp cord thickness boundaries. The eartips on Moondrop Kato are superior and have that Alza Xelastec stickiness feel, while the Timeless offers a generous pick of off the shelf tips. Read up on Jurgen Kraus’s detailed review of the Moondrop Kato for more info.

WRAP UP

Given the many glowing reviews for the 7Hz Timeless I have to agree the praise is real for available planer IEM options despite it’s flat sounding 2D staging. Another purchase I whole heartily feel was “worth it” and “nice to have”. For those that enjoy squeezing out extra resolution from the first and last octaves or U shaped signature, put these on your short list.

Finally a planar IEM that we have been waiting and hoping for. In comparison to value, there are better options if non-planar IEM’s are factored in, such as the Moondrop Kato that provides better technical abilities and an overall whole premium package. By the time this is published another planar follows very closely in the footsteps of the 7Hz Timeless, so they did something right.

SPECIFICATIONS

GRAPHS

• Left vs Right
• 7Hz Timeless vs Moondrop Kato
• 7Hz Timeless vs BQEYZ Spring 2

Contact us!

DISCLAIMER

They can be purchased at various sellers. Mine were purchased specifically from Hifigo on Amazon here.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post 7Hz Timeless Review (2) – Planar Power! appeared first on Audio Reviews.

INTRO

Weather has turned colder here in Chicago as we transition to earmuff season. Seems fitting to be reviewing the latest addition OneOdio Monitor 60 which appears to be the top tier currently. Recently I reviewed the wireless Pro C and then the Pro 10. Oneodio upped their game and size, something more fitting for a true over ear experience with more luxurious fit and feel. They are even more balanced sounding than the Pro 10. The real question is are they worth double the price of Pro 10?

Disclaimer: I finished all my Christmas shopping before Cyber Monday. These arrived prior from OneOdio without any out of pocket cost. They even threw in a plastic headphone stand and a rubber coaster from their accessory catalog, was unexpected and not included with the purchase of the Monitor 60.

Tested at $69 using my LG G8, Sony NW-A55 and the Liquid Spark Dac+JDS Labs Atom

GOOD TRAITS

• Larger Pads, Softer, Bigger Openings
• Balanced Sound

NEEDS IMPROVEMENT

• Larger Headband, but still light pressure makes them fatiguing. Needs a better curvature.
• Weight of pads causes the earcups to flop around. Not a big deal, just a nuisance.

PHYSICAL PROPERTIES

At first glance the headband and articulation look the same as OneOdio’s other models, but everything on the OneOdio Monitor 60 is bigger- bigger hinges, bigger arms, bigger headband padding, bigger pads. Just sitting on the counter they look intimidating, but the extra girth is appreciated.

The open mesh on the rear of the earcups it purely cosmetic, they are sealed cups 100%. The headband clicks solidly into place with a satisfying click as it is resized. Earpads are super soft and cushy, and the material feels high quality, as nice as the pads found on another crowd pleaser the Marantz MPH2, just thicker.

SIDE REVIEW – Coaster and Headphone Stand

The headphone stand is lightweight plastic, with 4 rubber feet to prevent it from skidding around on surfaces. Given the lightweight design, it still managed to hold up the monstrous OneOdio Monitor 60. Not as nice looking as those head shaped wooden ones, but if you are looking for something super simple this fits the ticket.

The coaster was a rubber with a raised/recessed design. Great for a cold or hot beverage. A little pricey for a rubber coaster.

PACKAGE CONTENTS

• Carrying Bag
• 3m long coiled Adapter free 3.5mm to 6.35mm cable
• 1.2m long 3.5mm TRRS cable with microphone
• 3m long 3.5mm to 3.5mm cable for extra long reach

Oneodio Monitor 60 is really generous with all the cables. They have a keyed friction mechanism on the 3.5mm input side, but the 6.35mm is any standard cable. Not to worry thought, they give all users plenty of options which is real handy.

SOUND

Overall, the OneOdio Monitor 60 is balanced with only a touch of bass lift around the 100hz mark. Glasses wearers will find them a little tinny sounding if the seal is not achieved. They start to roll off the bass like a typical bass neutral earphone so seismic rumble is relegated to the shadows.

The “monitor” name is fitting for these, definitely not what I would classify as a DJ headphone despite the articulation of the earcups. Typically those have ear battering bass. Instead the bass is nimble just lacking some extra grunt from the subbass harmonics, perhaps a smidge peaky for my tastes.

The OneOdio Monitor 60 lean mid forward, vocals are clean not overly breathy, there is some sharpness in the 5-8Khz region that adds vividness to brass and electric guitars. My loving wife wanted to give them a go and I asked her to describe what she thought. In one word she summed it up perfectly, brassy -not overbearing, just the part that stands out. I better watch out, or she is going to take over for me.

TECHNICALITIES

Timbre sounds a bit colored as a result. Width is great dues the extra thick pads, depth feels believable. Good separation, they avoid sounding claustrophobic. Not particularly sensitive, they can be driven from a smart phone, but they really need some amplification to boogie. They easily max out the volume on the LG G8, and I didn’t feel uncomfortable at that listening level.

SUMMARY

Personally, if you are in the market for a vivid sounding mostly balanced closed back over-ears headphone the OneOdio Monitor 60 is a better choice over the Pro 10 model. For double the price, the earpads are superior, the fitment is better, the arms and hinges are beefier and the resolution is kicked up a notch.

Not for bass freaks, these have a vintage 70’s rock groove. For others looking for a V signature with more sub-bass presence my recommendation is the Marantz MPH2 or similar ISK 9000 rebranded Stellar Labs HC5985.

SPECIFICATIONS

Contact us!

DISCLAIMER

Get it from the Oneodio Store. Also available in other places such as Amazon and Aliexpress.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post Oneodio Monitor 60 Review – Affordable Professional Muffs appeared first on Audio Reviews.

INTRO

KZ Acoustics is one of the more well known budget kings where they take and constantly tweak models, the KZ X Crinacle CRN Zex Pro is no exception. I wouldn’t be surprised to see a third iteration. KZ has taken liberties with marketing slang to advertise it as an electrostatic but then clearly indicate later it uses an electret microphone. Not the same thing, but seems a little misleading.

So the the original KZ Zex was sort of interesting from a driver standpoint, but sported the usual KZ style of tuning. It received mixed reviews with the CCA NRA being a slightly better take on it from what I have seen but not experienced.

The Zex Pro attempts to rectify some of the short comings by adding a balanced armature to pick up the treble. The tuning appears to be a complete departure from the KZ ZEX based on reviews I have seen of the original ZEX. Instead I believe the KZ X Crinacle CRN Zex Pro is actually inspired by the popular JVC HA-FD01 or Drop JVC HA-FDX1. So if you were curious what a JVC HA-FDX1 sounds like with a sprinkle of bass lift and a resonant treble peak around 8khz, this gets interesting.

Disclaimer: No animals were harmed in the receipt of these free earphones from KZ. I would like to thank the post office for delivering them to my mailbox without incident.

Tested at $35 with the LG G8 and Sony NW-A55, Liquid Spark DAC + JDS Labs Atom

GOOD TRAITS

• Not another KZ tuning, something different and balanced
• Fitment fits snugly
• Isolation

NEEDS IMPROVEMENT

• Resonance around 8Khz, not just measured. Impacts Timbre.
• Higher volume improves staging, but at the expense of the resonance.
• Misleading “Electrostat” verbage if buying based on technology is how you make decisions.

PHYSICAL COMMENTARY

After removing them from the simple KZ white box, I surprised to find the KZ X Crinacle CRN ZEX Pro does not use the ZSN/ZS10 Pro/ZEX shell. Instead it appears to use what I think is the DQ6 shell that is more contoured and offers excellent isolation for a universal shell.

I received them shortly before my workplace decided to do some concrete ceiling work with a jackhammer. Perfect time to really put these to an isolation test. While I cannot say they are OSHA approved, I did find them to be excellent isolation when seated further away in a separate room, better than the more generic shells.

The KZ ZEX Pro 2 pin silver plated flat cable is a departure from the tangling prone twisted cable, and while it looks and feels meh, it does tangle less easily.

PACKAGE CONTENTS

• Detachable 0.75mm 2 pin 1.2m long cable with or without mic depending on order
• IEM pair
• 1 Pair each of S/M/L starline eartips

SOUND

So the KZ X Crinacle CRN ZEX Pro is not a minor incremental improvement of the original flavor Zex, but what is it? I had heard this signature before initially thinking maybe the ZSN series. After a quick measurement, I realized it looks eerily similar to the Drop JVC HA-FDX1 and well sounds a bit like it to.

The difference comes from a lower centered bass boost enough to add fullness to vocals and drums and upright bass that the JVC lacks. It departs from neutral but classifies as balanced for my definition. Vocals dance along the forward line, it’s a less vivid sounding than my preferred signature, but works great for jazz and classical.

For popular music the signature presents a studio effect. It doesn’t have the suckout though that more mellow KZ iterations such as the ZSN, or ES4 had with shoutier 2-4KHz treble plateau.

Listening to drums and cymbals I am picking up some extra twang from that resonance peak, this impacts the timbre as well. The KZ X Crinacle CRN Zex Pro treble experience is a nice departure despite that zest.

I feel like there is a hand off issue between the electret and the BA driver that reminds me of an audio tape slightly boogered up. I don’t always hear it, so it depends on if the music has information in that particular band.

TECHNICALLY SPEAKING

Excellent width combined with above average depth is a good fit for the KZ X Crinacle CRN Pro. While it seems unfair to keep comparing to the Drop JVC HA-FDX1, instrument spacing and overall blackness doesn’t reach top ratings for the Zex Pro, I would classify as above average.

There is not a 10x difference here though so ignorance can be bliss. As volume is increased it starts to sound a little crowded, so best to keep it mid level or a tick north of that for more liveliness.

COMPARISON

BLON BL-03 ($25) vs the KZ X Crinacle CRN Zex Pro ($35)

So I should probably compare the KZ X Crinacle CRN Zex Pro to something in the same price bracket right? The Blon BL-03 was widely dispersed so this should give an idea. Obviously fitment is better on the Zex Pro. Less punch on drums, more blended in the bass for the Zex Pro, the BLON has more natural timbre whereas the Zex Pro gives a more spacious feeling and ambient room portrayal.

There is a minuscule hint of forwardness in the BLON BL-03 only compared to the Zex Pro. Together these two characteristics make the BLON BL-03 feel closed in compared the Zex Pro. Since the treble rise occurs later and that pesky peak around 8khz, cymbals and flutes get more prominence in the the spotlight.

HAPPY ENDINGS

While the misleading use of electrostat leaves a bad taste in my mouth, the rather different tuning makes this KZ X Crinacle CRN Zex Pro a foray into experiencing what some people might view as a more natural tuning with extra low end and narrow treble boost that distinguishes it as a vivid budget HA-FDX1-esque.

Consider it a less technical version where your college roomate has turned the bass boost and treble knobs on that 1970’s vintage stereo system to make it exciting. It’s sculpted custom universal adds more secure fitment with good isolation, so if you played with their earlier KZ ZSR or DQ6 models, you will know what I mean.

I rank these as nice to have budgets way different from other KZ offerings and no issues recommending to friends, but not replacing my daily mid-tier favorites in the $150-$200 category.

I had no idea these were Crinacle branded until later when I was told by KZ to use the new ridiculously long name. I can understand that “X Crinacle” is the moniker used for models with his hand in the tuning.

I respect Crinacle’s work, it’s just too long of a name. I would have actually ditched the Zex Pro portion and give credit where credit is due, and if people didn’t like it so what. Chi-fi is a fast moving target where 6 months from now there will be other things in the market catching our attention.

SPECIFICATIONS

GRAPHS

• Left vs Right
• Zex Pro vs JVC HA-FDX1
• Zex Pro vs Blon BL-03
• Impedance

Contact us!

DISCLAIMER

Get it from any available reseller.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post KZ X Crinacle CRN Zex Pro Review (2) – Inspired By Drop JVC HA-FDX1? appeared first on Audio Reviews.

Intro

BLON released the A8 Prometheus following several models that fizzled after the success of the legendary surprise hit BL-03. The shell on the BLON A8 Prometheus is out of this world, part sci-fi, part abstract art it’s hard not to marvel at the odd looking structure. Advertised as a sports running flagship earphone, seemingly a bit oxymoronic it surprised me by fulfilling both prophecies. However, I came to realize like the Aliens movie franchise, there was something hiding waiting to surprise.

Disclaimer: They were on loan from the Art Haus von Loomis Johnson

Tested at $85: They can be purchased in the usual places such as Aliexpress, Amazon, Hifigo, Keephifi, etc.

Good Traits

Physical Attributes

Earphone makers that want to set themselves apart from the seemingly endless options these days must stand out. The shell on the BLON A8 is nothing short of different. I don’t recall anything else like it. The outer shell is a 3D hollow structure with a smaller enclosure for the single lightweight diaphragm dynamic driver.

It doesn’t boast any exotic particular materials DLC, Beryllium, Titanium, Unobtanium, etc, but sometimes you don’t need these to pull off a good sounding earphone. Since the shell is metal, this helps reduce weight and it would have been really cool if the structure was optimized to reduce wind noise..haha give it a couple of years and some manufacturer will figure this out and sell it at a premium price. While it’s not designed to reduce noise, it did an amazing job staying put in my ears even during a simple 3 mile hike.

The connectors on the BLON A8 are another oddity, they angle the earhooks towards your head which I thought surely would cause the earphones to push out of my ears. Maybe the opposite was true, it helps create some extra friction to reduce movement of the cables.

Hot tip: It’s important to play around with eartips on these. I did not get the included eartips from Loomis Johnson who previously reviewed the BLON A8. Instead I started with the olive shaped ones from my Tin Audio T2 Plus which turns them into bassy monsters reminiscent of the BMG DMG/Nicehck M6.

The Azla Sedna Light shallow was better, but shallow widebores similar to the ones included with TFZ King Pro were the best. The shallow widebore lets the midrange and treble shine a little more and in my case the seal was “loose” or not tight. This helped cut down on the steep bass rise, just as the BMG DMG third party nozzle with an extra vent release.. Since this is probably hard to duplicate, most of my comments will be based on using something similar to the stock tips.

Package Contents

• Burlap Storage sack
• Eartips
• 2 Pin removeable cable 1.2m silver cable

Sound

Tested with an LG V30, Sony NW-A55, Liquid Spark + JDS Labs Atom

Something was up with the BLON A8, every time I put them in the sound would be different, one minute they were bass monsters the next more balanced (not neutral). I consulted other reviews to see what was going on…

Sculpted bass, but then bass, bass and more bass?

“The Blon A8 Prometheus surprises with its bass quality—tight, well-sculpted and wholly free from bloom and bleed, with adequate but not massive  subbass throb” -audioreviews.org

“The BL-A8 have meaty, punchy bass. If you’re a bass head, you are in for a treat.” -Headphonehonesty

“BLON BL-A8 has meaty and thick lows. This model is perfect for bass heads as it gives a meaty deep rumble” -Headphonics.com

“If you crave those deep, visceral sub-bass rumbles that almost make you lose control of your sphincter then the BL-A8 will oblige.” -primeaudio.org

BASS is all about weighty slam, and it’s in a hurry to please the headbanger, so much so that sometimes the bass take the front stage and hollow the resolution. -nobsaudiophile.com

Originally I though the tips I was using allowed for a light seal. The real reason was more about the stem of the eartip pushing down over the vent hole. I am not sure why BLON made a decision to put a vent hole in the stem, perhaps it was a last minute tuning decision easier to rectify with the nozzle vs the shell? Who knows…well now we all know to watch out for this.

It makes sense why the shallow wide bore eartips work very well since these are less likely to push down over that vent hole. Another possibility is to use something with a thicker tighter stem so it doesn’t slip down. A combo of short, thick and tight would be super ideal, keep it clean folks.

Final Remarks

Rather than rehash what my fellow com-padre Loomis has already laid out for the BLON A8 Prometheus, I have to agree with his take on them and am wrapping this up early. I think these are attention grabbing socialites that did not make the splash they could have if it were not for the troublesome placement of that nozzle vent hole. Good effort BLON, one of your better ones minus the misstep on hole placement. I rank these cool to have if you use the right tips and avoid blockage.

BLON A8 PROMETHEUS SPECIFICATIONS

• Impedance 32ohm
• Sensitivity 115db
• 10mm driver
• 3.5mm 1.2m silver cable (mic optional)
• Color Options Silver/Gun Metal

GRAPHS

BLON A8 Left vs Right

BLON A8 Nozzle vent partially covered / eartip inconsistencies

Contact us!

DISCLAIMER

Our generic standard disclaimer.

You find an INDEX of our most relevant technical articles HERE.

The post BLON A8 Prometheus Review (2) – Smoking Hot Tip: Black Hole Ahead appeared first on Audio Reviews.

Intro

Welcome to part deux of the OneOdio review series after my first interaction with the Pro C reviewed previously. Consider this a trilogy with the Monitor 60 closing it out.

What had me curious about OneOdio is they are a common recommendation in the Head-Fi budget over ears thread up against the ISK 9000 series attack of the clones.

While this particular OneOdio Pro 10 was not the one most sought out, but instead the bigger padded model, my interest was still piqued. While a lot is the same between the Pro C and the Pro 10, there are still some differences worth mentioning.

For those that are looking for inexpensive, lightweight, and relatively balanced or mild V sounding over ears these are serious contenders.

Disclaimer: OneOdio approached Audioreviews for reviewing the Pro 10. These were freebies and will go into the bucket of an aspiring yute youtuber for later use.

Tested at $35: They can be purchased in the usual places such as Aliexpress, Amazon, including their very own store page here. No affliate link, no kickback.

Our generic standard disclaimer.

Good Traits

Physical Attributes

Compared to the Pro C, the OneOdio Pro 10 uses regular cables. The Pro C had a locking keyed cable that if damaged would require a very slim replacement cable to be sourced.

If you visited my past review remember though, the Pro C had battery life for days/weeks being the wireless model. The cool feature on the Pro 10 has to be the 3.5mm connection on the left earcup, and then a 6.35mm connection on the right earcup. This allows a user to primarily use the 6.35mm to 3.5mm cable and swap around without the need to use a 6.35mm adapter aka “adapter free”.

Or if you want to share with a significant other, friend, sibiling, or kiddo you can daisy chain to another pair and run around town clothes-lining innocent bystanders.

Headband and pads are the same as on the Pro C.

The earcups sport chromed paint along the entire edge of the cup. In pictures it looks like just the very edge is chrome outlined. The Pro C was all black. There are additional colors as well, chrome remains.

• Black
• Red (headband)
• Blue
• Purple
• Pink with Gray padding
• Rose Gold (all pink)
• Grey (headband padding appears gold)

Package Contents

Carrying Bag

2 separate cords as mentioned earlier, no special locking mechanism so off the shelf cables will work as well.

• 3.5mm TRRS with mic to 3.5mm
• 3.5mm to 6.35mm coilded “adapter free” cable.

Folding “DJ” style headset

Sound

Ok so OneOdio Pro 10 claim to be “DJ” headphones. They fold and twist and turn for those one sided listening usage cases wiki wiki style, but they are not bassy enough for my expectations of actual DJ use when trying to match beats.

However, as you push the OneOdio Pro10 closer to your ear, they do get pumping more than casual normal listening methods. Bass is tilted in favor of midbass over subbass – we all have our biases right? With a good seal, they might warm the lower midrange registers and make sound content sound more full bodied.

The OneOdio Pro C model sounded slightly bassier in comparison, perhaps the bluetooth/amplification had a slight tick upwards. These are clearly more balanced but not thin sounding neutral.

It’s like listening to a set of sealed bookshelf speakers, without the reach in the lower registers it maybe sounds a bit hollow on some upright bass / cellos.

Midrange vocals are clear, nothing really standing out if anything a a half a step forward. I want to stop short of calling them flat sounding as there is some depth portrayed, like eating a Ritz cracker over the Buttery crisp crackers at a friendly gathering. Still eating crackers at this price level, not fresh bruschetta or toasted bread with goat cheese.

Treble in the OneOdio Pro 10 is very well balanced nothing offensive and steps in to provide the perfect amount of life to the recordings. In comparison to the Pro C again, I find it more present purely due to the reduced bass levels. Softer and gentler with just enough air to not sound fake. Shimmer on cymbals is detailed enough so that things do not sound dull.

Clarity and resolution of the OneOdio Pro 10 is on par to the Philips SHP9500 and Marantz MPH2. I can pickup some depth, but to me they lean towards accentuating width. Timbre is oh so close perhaps slightly plasticy, the Marantz MPH-2 just barely edges it out.

Sensitivity is medium, they can be driven by a smartphone at the upper levels of the volume control. They handle amplification like a champ which is important for those who purchase for DJ usage. My Oppo PM3’s are more sensitivity than these.

Final Remarks

Material quality meets expectations for a $45 product, and sizing aside I particularly enjoyed using the OneOdio Pro10 around the house doing chores where The OneOdio Pro 10 suffers a bit on sizing, but overlooking that they provide a definite entry option in the world of over-ears balanced sounding setups despite their DJ style practicalities.

Again not a bad holiday present when trying to find something for nieces, nephews, or moody teens, or someone who wants an inexpensive balanced signature. I wouldn’t call them neutral because there is a speedbump in the bass, more of a balanced or mild V signature.

For $10 more you can have the slightly bassier model Oneodio Pro C, but if wireless is not something that interests you save your $10 and get these. As a bonus it appears you can register them directly with OneOdio and gain a 24 month warranty. Stay tuned for my OneOdio Monitor 60 review.

OneOdio Pro 10 Specifications

• Rated Power: 30mW
• 110+/-3db Sensitivity
• 32 ohms
• 50mm driver
• 3.5mm or 6.35mm stereo jack

Contact us!

The post OneOdio Pro 10 Review – Balanced Budget, DJ Inspired appeared first on Audio Reviews.

Intro

The Questyle CMA Twelve (how dare anyone substitute a 12) DAC and Headphone amp combo is a solid hunk of amp with a very premium feel and a 2019 premium-ish price tag at $1499. All sorts of options up and down the scale. In my house the closest competitor is a whooping $200 stack of compact DAC and no frills headphone amp Liquid Spark + JDS Labs Atom.

Questyle has a wonderful track record for art and design however there is some not so happy thoughts on their customer service follow-through. The Questyle CMA Twelve DAC and Amp combo naming celebrates a whooping 12 year history in the headphone world. It’s a wonderful piece of machinery with a few minor near misses.

They claim a patented Current Mode Amplification technology sit inside cuddled up to Class A amplification. Sonically it does everything a premium product should do, powerful amplification, transparent noise-floor, butter smooth presentation with exceptional precision, I think I am in love.

Disclaimer

Let me first thank Audio46 for the opportunity to test this out in my home sanctuary. This is outside of the realm of equipment I usually consider so not a whole lot of equivalent equipment to compare it to. This audition audio tour sponsored on Head-fi set me back $20 in shipping, a small 1 week rental fee, how lovely.

Good Traits

• Solid Construction
• Excellent midnight black noise floor
• Resolution and clarity
• Input voltage for the masses, selectable 110/220V

Opinionated Commentary

There are only minor imperfections on the Questyle CMA Twelve

Low volume channel imbalance. It goes away after a few clicks up from 0 and is present on my normal setup as well. It should not a be a deal breaker, unless it exhibits this at listening level someone would actually use. There is also some electromagnetic feedback static induced into the circuit because it is motorized. Just more analog character charm.

The other strange thing I do not understand is if their claim to fame is the current mode amplifier running in their controlled/auto Class A bias mode, why is it not an option to toggle to headphone amp only mode with input from another DAC on the Questyle CMA Twelve?

A proprietary wireless receiver input that is not standard bluetooth. This is Apple thinking that the consumer will buy into a Questyle Ecosystem.

The last oddity is placement of the gain switches, there are 4 since they are independent for each channel (balanced). They are underneath. I understand from a circuit design perspective they wanted to keep it clean, but from a user experience it’s a tad annoying. If you never plan on using this with highly sensitive IEM’s no worries to be had.

Cosmetic Package

The design of the Questyle CMA Twelve has a geek side something that satisfies the more mature crowd without overly bright flashy displays, but instead goes for an engineer’s idea of a piece of lab testing equipment.

The indicator lights are not overbearing and very sharp looking. The toggle switches feel dainty, but my experience with these in my day job will no doubt prove to last a long time.

Power Consumption Tests

Seems silly to care but climate change anyone? No really my curiosity wanted to know how much extra power is used when switching into high bias setting on the Questyle CMA Twelve.

0.14/0.17A Standard vs High Bias
0.16/0.19A after warmed up
12W/15W Volume/load has no measurable bearing on this as expected for a Class A amp.
14W/16W after warm

Sound

The Bias switch does make a difference, I am glad they allow you to switch it on/off just to see the effect-show and tell. Bass has a little more haptic while the treble portrays everything more dimensionally.

Similar to going from a more dead room to a lively room, extremely subtle but still noticeable. The question is does this add coloring or remove coloring? I cannot answer but I would love to believe it makes it more expansive without coloring.

Testing the DAC output to my JDS Labs Atom, there was also a slight improvement in the separation of instruments, but as expected it is the total combination of the DAC and amplifier that are musical and organic.

The Questyle CMA Twelve treble comes off smoother and yet still more detailed. I found myself missing that extra little seismic information that it extracts when I went back to my Atom. Going from memory, I prefer the Questyle CMA also over the SMSL SH-9 due to the sterile cleanliness and the more analog volume control.

Power output should be plenty to drive almost anything, I don’t have anything besides the Sennheiser HD6XX that really needs the super power, but the Oppo PM-3 and JVC HA-FDX1 also benefited from the extra headroom. I pretty much used it in standard gain mode with everything since it was annoying to flip it over to make changes.

Other Fun Features

I am not really equipped to test these functions out but they are part of the Questyle CMA Twelve package for those interested.

• 4.4mm Pentacom or 4Pin XLR balanced output. I don’t have any cables to utilize.​
• Balanced output into an amplifier as a standalone DAC. I have no 2 channel system that would do it justice.​
• Proprietary 5Ghz wireless receiver input.​
• DSD playback, not my thing​
• Studio output, not a music producer/mastering engineer so no gear.​
• The Remote, probably more useful in DAC only mode. Buttons appear to be fuzz magnets.​
• Optical Digital Input
• SPDIF IN/OUT Composite
• AES/EBU input

Final Remarks

The Questyle CMA Twelve is a wonderfully sounding DAC amp combo that extracts the microdetails, plenty of connection options minus the ability to use it as a headphone amp only being the only drawback. If I had the desire to purchase gear over $300-400, this would be on my short list.

Since this product was released in ?2019 it doesn’t utilize the newest DAC chips or boast over the top SINAD numbers, yet it still sounds more musical and more transparent than my limited sampling. A caveat-I don’t want to pile on, but there have been some past complaints about support, and as you go up in price tiers the support is something you hope to never have to use.

Perhaps they will be more responsive if there is an issue, but this is something to consider with any brand in such a niche market. With that out of the way, overall excellent sounding DAC/Amp combo.

Specifications

DAC+Headphone Amplifier Section

Outputs:
4.4 mm balanced headphone jack
4PIN balanced headphone jack
6.35mm headphone jack

Max Output Power(Po):
247mW @ 300Ω; 900mW @ 32Ω(6.35mm headphone jack)
825mW @ 300Ω; 2W @ 32Ω (balanced headphone jack)

THD + N:
0.00070% @Po=100mW, 300Ω
0.00167% @ Po=50mW, 32Ω

Frequency Response:
DC-20kHz(+0, -0.4dB)@0dBFS, 24Bit, 192kHz
DC-80kHz(+0, -3dB)@0dBFS, 24Bit, 192kHz

SNR: 112dB, non-weighting

DAC+Pre-Amp Output Section

USB Type B Input:
Support 44.1kHz-384kHz/16Bit-32Bit PCM and DSD Native DSD64, DSD128, DSD256, as well as DSD64, DSD128, DSD256 of DoP format
(Note: support Win XP, Vista, Win7, Win8, Win10 and Mac OS)

Digital Input & Output:
SPDIF input and output, Optical input, AES/EBU input
Support 44.1kHz-192kHz/16Bit-24Bit PCM

Pre-Amp & DAC Section:
Balanced XLR x1 pair, unbalanced RCA x1 pair
STANDARD 14dBu: XLR: 5.084V RCA: 2.549V
STUDIO 20dBu: XLR: 8.887V RCA: 4.475V
THD+N@STUDIO 20dBu: XLR: minimum at 0.00085% RCA: minimum at 0.00115%
SNR: XLR:>112dB RCA:> 109dB (non-weighting)
(Note: FIX/ADJ: Fixed Output Mode or Adjustable Output Mode of the pre-amp.)

Contact us!

Disclaimer

Since Audio46 loaned this out, you can check out the QUESTYLE CMA TWELVE at their storefront. No affiliate links, no kickbacks.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post Questyle CMA Twelve – Blissfully Biased appeared first on Audio Reviews.

Intro

OneOdio is located in Hong Kong and sent both the Pro C and Pro 10 models for review. To start I picked the OneOdio Pro C (Y80B) being the more interesting wireless bluetooth model since Tesla believed in a world without wires.

While they do not sport ANC, wireless seems to be the more important feature everyday users want. Borrowing inspiration from the Audio Technica swivel DJ folding concept, they claim to be for all types of listeners. Quite lofty goals. The OneOdio Pro C wireless are relatively inexpensive amongst peers and enjoyable as well for mainstream modern music.

Disclaimer: OneOdio approached Audioreviews for reviewing the Pro C. I happily obliged due to the fact young ones are notorious for destroying headphones. They can be purchased in the usual places such as Aliexpress, Amazon, including their very own store page here. Pricing at the time of review is $45.

Good Traits

Physical Attributes

Build quality of OneOdio Pro C (Y80B) reminds me of a pair of Koss DJ headphones someone might receive as a service award of obedient loyalty. Lightweight plastic isn’t always a bad thing if the purpose is to keep it from becoming annoyingly heavy attached to your melon of matter.

The pads are medium/firm, but the outer material soft and pliable, I was expecting something harder and more plastic to be honest. They are not deep so the tops of my ears touch the inside of the clearly marked Left and Right inner mesh.

Inner diameter for a 50mm style over-ears headphone is also on the small side. Since I wear glasses, the pads are bit too hard to seal unless I remove my glasses. I actually prefer them with a little leakage of sound though as it balanced the lower end enough.

The headband sizing appears to be smaller than I am used to, larger heads beware. I had them extended 50% whereas normally 0-25% is my normal extension on other common models like the Marantz MPH2. The detent plate is made of metal and provides a solid click in position.

I noticed the headband is flatter than my more rounded Marantz MPH2, so it exerts some pressure in two spots on the tops of my head. Swivel and hinges make it more compact and DJ friendly.

It comes with a micro USB cord and 3.5mm 4 pole TRRS mic cable in case the 1500mAh battery dies. It boasts a whopping 80 hr play time meaning it could be weeks before recharging required for occasional usage.

Bluetooth connection is solid and provides expected range before cutting out. I was able to walk more than 30ft away and it continued to play with only minor stuttering. I did a quick video test as well with movie watching and did not detect any kind of lag.

The processor must be rather close to the magnet of the right driver because when nothing is playing you can hear a faint transmission chirping if you really listen closely. Less demanding listeners would probably not pick up on this though so I consider it a non-issue.

Controls

Buttons presses on the OneOdio Pro C are found on the right ear cup, with the up positioned higher for easy orientation, the middle mute/power/pairing button is slightly recessed so not to be confused with the other two, and the lower volume button placed at the lowest location.

Quick presses change the volume, while a long hold of up or down changes the track. The volume control is independent of the source volume.

Package Contents

Carrying Bag

USB charging cord, charger not included

Built in 1500mAh battery

TRRS 4 pole cable with mic to 3.5mm detachable interlocking cable

Sound

The OneOdio Pro C provides ample bass output with good reach into lower registers that was engaging. The elevation is not basshead levels and it also avoids muddiness with only minor warmth into the midrange. With proper seal it is rather punchy, with a loss of seal from my glasses it balances out a bit and I find them more enjoyable.

From here the vocals on the OneOdio Pro C provide a clear and concise rendition of male and female vocals, with the male vocals sounding a little tubby and females sounded full bodied. Treble is well balanced with the rest of the range with no offending peaks, I consider it on the softer side providing enough backup support to avoid them sounding dull. All in all, they are a V shaped signature.

Resolution is on par of something in the $50-100 class of over-ear headphones. I find them particularly wide sounding with good instrument spacing. Depth spacing gives the impression of swimming in the 5-6ft section of pools as compared to the 3ft kiddie side and the deep end for those more advanced swimmers.

Final Remarks

Material quality meets expectations for a $45 product, and sizing aside I particularly enjoyed using them around the house doing chores where a cabled headphone would typically snag on drawer pulls, door handles, etc.

Sonically they are close the Marantz MPH2 and similar ISK clones, but the OneOdio Pro C trade wireless bluetooth in exchange for a slightly improved bass control and midrange smoothness.

With end of the year celebrations coming up, these would make a great present for those looking for a gift that will not empty your wallet and introduce teenagers or even adults with smaller heads looking for a safe tuning for pop and rock music. As a bonus it appears you can register them and gain a 24 month warranty.

OneOdio Pro C Specifications

• 80hrs Playtime with 1500mAh battery
• 110+/-3db Sensitivity
• 32 ohms
• 50mm driver
• 4 pole TRRS to 3.5mm detachable cable

Contact us!

DISCLAIMER

Our generic standard disclaimer.

You find an INDEX of our most relevant technical articles HERE.

The post OneOdio Pro C Wired + Wireless (Y80B) Review – The Notorious Big and Small appeared first on Audio Reviews.

So this the part where all blogs tell you Tforce Audio is another one of those OEM/ODM companies in China that decided they should stamp their name on their own product. Sure why not, everyone else is doing that. Smart move to actually pick a name that makes sense to western customers and not just a keyboard mashup. There seemed to be some interest brewing for the Tforce Audio Yuan Li throughout the community of earphone users.

I thank Hifigo for providing this set to a fellow who had no idea what these entailed. This wholly balanced easy going set is a cheese and wine earphone, something that is very relaxing and pleasant to listen to after a busy day.

GOOD TRAITS

• Tuning, Tonality, Timbre
• Nice assortment of eartips

NEEDS IMPROVEMENT

• Bass is over-damped and needs amplification. I would like to see it tuned a little lower and with more freedom to articulate and provide slightly more definition.
• Plastic feeling cable, it does resist kinks pretty well though

COMFORT / ISOLATION

Isolation on the Tforce Audio Yuan Li is pretty decent slightly above average. Comfort is excellent for me even with the considerable heft of the shell weight. Not a lot of fiddling is required to make them sit correctly.

PACKAGE CONTENTS

Tforce Audio Yuan Li comes in a highly decorative box having that old world feel. Collectors will love it while people like me will repurpose or recycle it. The earphone case is reptilian skin-like leather inspiring a high class feel which is what they must have been going for. It follows the trend that bigger boxes inspire a more premium product lays waiting inside. Have to love marketing mind games, I am on to you.

The Tforce Audio Yuan Li itself is a trip down memory lane with throwbacks to the Moondrop Kanas Pro period. It’s chrome and uses a DLC coated dynamic driver. The shell is rounded and smooth, no sharp edges and is well assembled.

Cabling is of the twisted variety and has a stiff plastic feel, but it doesn’t tangle as easily as some others. The slider tends to stick to the cable, but that’s ok because then it stays in place where you put it.

Tforce Audio comes supplied with two sets of eartips. They got you covered with a balanced set which means a wider bore, and the bass tips which equates to narrow bore. Then there is the one set of foamies. I personally preferred the widebore, which is pretty much always.

SOUND

Sources: LG V30+ and Sony NW-A55 (mobile)/ Liquid Spark Dac + JDS Labs Atom (stationary)

The Tforce Audio Yuan Li tuning is a diffuse field near neutral with a warming bass lift. I will classify as completely neutral, but for others neutral equals rolled off bass. This just has flat bass in quantity and quality. Bass is heavily damped, smart phone users and even stand alone daps may struggle to really extract the bass from this set. They are more appreciated with amplification.

Tforce Audio manages to keep the bass controlled maybe a little constricted, but definitely not as slow like the Moondrop Kanas Pro. Carries notes well when amped, but a little too curt when using something like a smartphone. You will have to use the volume at a higher level to bring the bass to life. Lowest of the lows will not tickle your pickle, but it’s not chopped at the end either. Overall it is lays out some warmth without stepping out of bounds. Articulation could see some improvement.

Lower mids present vocals naturally and with a dark background. Pianos as well as guitars sound realistic too without sounding one dimensional. The Tforce Audio Yuan Li come off a little forward on the vocals. There is not a single hint of “added” sibilance just smooth as can be and nicely done. This is a western tuning, with a mild rise that avoids coming off shouty.

Treble on the Tforce Audio Yuan Li also follows suit remaining controlled with no sharpness except when needed for trumpets and sax. It doesn’t contain any fake airiness but also manages to sound fluid when presenting cymbals and flutes. It’s easy to hear the notes float avoiding any kind of dullness. No detection of any weird anomalies that mess with the timbre.

My only complaint again is that maybe it is too controlled, I would like to feel the cymbal crashes a little more but this is nitpicking. Overall Tforce Audio Yuan Li manages a well balanced treble that mates up with the slight warmth in the bass.

TECHNICALITIES

Timbre is nailed by the Tforce Audio Yuan Li, and coherency is not a problem either because it is a single dynamic. Spacing is handled well and congestion is not an issue. Enhanced width with only a minor drawback in depth. Resolution is what I expect in this price range, it does out-resolve the $50ish offerings and fits nicely in the $100-150 range, with some other multiple driver units sometimes besting it.

This might just be a function of the diffuse field tuning however when comparing other sets that place extra emphasis towards 5khz. If I had to give it a letter grade on technical merits perhaps a B-.

COMPARISON: Tforce Audio Yuan Li ($119) vs. Moondrop Kanas Pro ($179 discontinued)

I would have liked to compare to the Moondrop Starfield, but I stupidly misplaced them for eternity. So, the Moondrop Kanas Pro seems like a good stand in being a DLC driver earphone like the TForce Audio Yuan Li however being discontinued and nearly double in cost. I already mentioned the slightly more controlled/damped bass, the treble is a tad brighter on the Moondrop Kanas Pro while the Tforce Audio Yuan Li takes a relaxed path on treble so that it is not overbearing. This is the difference between a diffuse field peak and a Harman plateau. It really is not a huge difference between these two, I actually forgot which one I was listening to when trying to compare. The weight, the feel and the sound are very similar.

FINAL REMARKS

For a virgin product, the Tforce Audio Yuan Li is a force to be reckoned with. Honestly this comes real close to a cheaper Moondrop Kanas Pro with tightly damped bass. If you were sad to miss out on the Moondrop Kanas Pro or the Sony MH1C seriously consider picking these up. Let’s hope these are not a one hit wonder, and Tforce Audio can crank out some other options to satisfy other tunings. Pleasant vocals with a hint of warmth and sprinkle of sparkle treble, these hit the mark. The Tforce Audio Yuan Li is on my approved list.

SPECIFICATIONS

GRAPHS

• Left vs Right
• Tforce Yuan Li vs Moondrop Kanas Pro vs Sony MH1C

Contact us!

DISCLAIMER

These were provided free of charge by HifiGo which sells them on their website here and also on Amazon. There must have been a good sale on chrome plating, because my desk is starting to look like a scene from T2 with all this chrome laying around.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post Tforce Audio Yuan Li Review (1) – Harmonious Doppelgänger appeared first on Audio Reviews.

We pursue a different approach and have “built” this “Wall of Excellence” brick by brick to list portable audio gear of all types that has been doing a great job for us. And “us” means eight authors. Reconciling such a large number of informed opinions means rigorous and effective filtering. Our selections are therefore relatively safe. We do not compare on our WoE and therefore do not rank. If is’s on it’s on.

This is not a shopping list either and we will not accept requests for additions from third parties. Our wall is strictly personal. Info on all contributors is appended below.

It should be noted that we cannot know every product and therefore our list has holes. But we always strive to keep these as small as possible.

Please bookmark our dynamic Wall of Excellence and keep checking back as it will always be work in progress. You find it easily in the top toolbar.

Now it is time to dip in. Please enjoy yourself.

And don’t forget: If it ain’t here, WE don’t want it :). Check out your eight “bricklayers” below.

Until next time…keep on listening!

Contact us!

The post Introducing Our Wall Of Excellence appeared first on Audio Reviews.

Geek Wold GK10 is currently being hyped like no other, I actually jumped on these when I saw piezo hybrid prior to seeing any hype. Air and sparkle can be fun so they seemed interesting enough especially at their price tag.

You don’t see too many piezo hybrids sub $70 (Nicehck NX7 is the most inexpensive I know) this particular IEM is a 2DD, 1BA and 2 piezo hybrid. The titanium dynamic driver handles the bass, graphene (coated?) handles the mids, BA the lower treble and the ceramic piezo the upper treble.

The promoters set my expectations high, but is the Geek Wold GK10 a main act or the opening act? I suggest having a read through our past reviews of the Nicehck NX7 and BQEYZ Spring 2 to familiarize with what other acts might be competing for the top spot in the piezo hybrids.

Since the Olympics just wrapped up, I equate the Geek Wold GK10 to a long distance track runner with short legs, working real hard to keep up with the more majestic stride of the smoother runner.

It’s fun to watch but ultimately not going to end up on the podium. The reference here though is a $170 IEM to a <$50 IEM so it needs to be taken in context. Now that the real expectations are set, please have a look.

GEEK WOLD GK10 SPECIFICATIONS

• 1 balanced armature for high frequency
• 2 piezoelectric ceramic for ultra-high frequency
• 7mm graphene diaphragm dynamic for middle frequency
• 8mm dome titanium diaphragm dynamic for bass
• Panel: stable wood
• Shell material: ABS+PC
• Impedance: 8Ω
• Sensitivity: 106dB
• Frequency response range: 20-30kHz
• Cable material: 8-strand silver-plated
• Connector: 2pin 0.78mm
• Cable length: 1.2m

OUT OF THE BOX CONFESSIONS

Some of these are hard to classify as a pro or a con, so you get to decide.

• Connectors were hard to push in, made a creaking sound when I finally used enough force to insert the 2 pin. Afterwards there didn’t seem to be any issue removing and reinserting.
• Shells are on the lighter thinner plastic side, reminds me of some of TRN’s budget models IM series. It sacrifices premium build feel for a more practical lightweight disappears in your ears concept.
• Eartips, I had to go up a size from my usual medium and then the midbass nature makes an appearance.
• 6 ohms on the box, 8ohm listed on the web. Measurement below confirms 6 ohm if not closer to 5 ohm. High output impedance sources beware.
• The wood faceplate is unique as a snowflake and yes they are heart shaped. Love at first sight? The wood faceplate is offest, I did a double take thinking the faceplates had come off in shipment.
• The cable is of the tight twisted variety it is not afraid to show it’s kinky side.
• They stay put in my ears, but isolation is average.

PROS

• Unique wood faceplate
• Stays in my ear YMMV
• Smooth piezo tweeter implementation

CONS

• Low Impedance makes it susceptible to cable impedance and source output impedance
• Average isolation
• Bass tuning is centered high and wide
• Left vs Right level differences

GEEK WOLD GK10 PACKAGE CONTENTS

• Removable 2 pin cable
• 2 sets of eartips S/M/L
• Carrying Pouch

THE IMPORTANT SOUND STUFF

Equipment Sources LG V30 / Liquid Spark + JDS Labs Atom

The Geek Wold GK10 is a V shaped signature with bright treble and peaky bass centered in the midbass region. It roughly outlines the Harman curve expect for a few peaks in the response. I have seen the controversy about graphs and perceptions…more on that in a bit. I can only comment on the set received.

The bass has a quick decay but at the same time boomy and thick sounding. Lower registers drop quickly off only to come in later with a slight lack of control, be prepared for all vocals to sound boxy. But wait you say, my set doesn’t sound like that so yours must be defective? The plausible idea is that there is glue covering the vent hole altering the tuning giving them a unit to unit inconsistency.

The other possibility is something I have come across now twice recently, using certain sized tips the shell prevents deep penetration to get that seal needed for proper bass reproduction. What you end up with is a loose seal that helps mask the peakiness of the bass hump. The same result can be achieved by sticking something between the stem of the eartip and nozzle so that it “leaks”.

If comparing the other piezo hybrids, the Nicehck NX7 wins hands down with it’s sub-centric non-bleeding bass, while the BQEYZ Spring 2 comes in second only due to less quantity of the wide hump.

There is a third possibility, consider the fact the hump covers the whole lower octaves similar to trekking up a very long gradual hill to only realize later how tall that hill actually gets. Our brains work very well in relative terms, not so much in absolutes, in others words this rise can be masked.

Mids on the Geek Wold GK10 are pushed into the background with rockiness in the waters presenting some audible grain consistent with IEM’s in this price bracket. Females and male vocalists sound rather chesty as expected with such a midbass hump. I am also picking up some ever slight edginess as we move into the upper mids. The BQEYZ Spring 2 excel in the midrange over the Nicehck NX7 and the Geek Wold GK10 coming in third.

The upper mids and treble come in hot and heavy giving the old noggin a lot to process. They are lively and energetic with a peak near 5khz. Snares are soft and cymbals have no real wincing impact that can easily occur with the Nicehck NX7 leaving just the splash at the end-think shhh instead of catshhh.

The BQEYZ Spring 2 is cleaner and more cohesive. It’s easy to see the treble is the star of the show since it is not offensive. Many IEM’s in this price bracket have trouble controlling treble to extent that it is either piercing or subdued. It’s a tough call here, I prefer the BQEYZ Spring 2, but others might decide the softer presentation of the Geek Wold GK10 might be preferred. The Nicehck NX7 looses terribly unless you want to chase away a wild pack of wolves.

TECHNICALITIES

The Geek Wold GK 10 presents a wide stage with medium depth with only vocals sitting in the background. Separation of instruments is acceptable but easily bested by the 3 times as expensive BQEYZ Spring 2. I get the feeling there might be no crossover in these relying solely on driver overlap and natural roll off of the drivers.

I pick up smearing throughout the midrange so this is perhaps the reason. I might be mistaken but I did not find any literature that mentions a crossover division of frequencies. Geek Wold might want to mention that if it exists. If you didn’t want to spring for the Spring 2, this is an alternative with a recessed midrange in comparison.

Soundstage does present nice width and height with only a minor dip in depth through the mids. The piezo super tweeter adds some ambiance to give some air, but not to the level of the BQEYZ Spring 1 or 2.

OUTRO

The Geek Wold GK10 will enjoy the 15 minutes of fame until the next shiny toy comes out, there is currently no one else offering a hybrid with a ceramic piezo super tweeter at this price range. I have to be realistic, it is not a giant killer or something that can compete in higher price brackets.

Enjoy it for what it is, a sub $50 hybrid and pretty to look at less smooth Harmon tuned IEM heavy on the midbass. After some brain burn re-calibration, I have to let my hearing adjust back to my daily favorite, the Shozy Form 1.4.

GRAPHS

• Geek Wold GK10 Left vs Right
• Geek Wold GK10 vs BQEYZ Spring 2 vs Nicehck NX7
• Geek Wold GK10 Impedance Plot

Contact us!

DISCLAIMER

Hifigo kindly provided this set for no charge, for everyone else they can be found on Amazon on Hifigo’s store page. No affliate kickbacks, I pinky promise.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post Geek Wold GK10 Review (1) – With Love, From China appeared first on Audio Reviews.

INTRO

Smabat has released a second generation of earbuds designed for the tinkerers and modders but with a closed ecosystem of driver swaps and vent swaps for the Smabat M0 and M2s Pro model.

Smabat sent me the entry level moddable version the Smabat M0. The Smabat M2S Pro offers a thicker cable and a 40 ohm driver with just the dome reinforced with a titanium coating.

The Smabat M0 uses a fully coated titanium diaphragm. I thought the concept of selling tuning mesh and easily swappable drivers was interesting enough to see what it was all about. I love the idea of standardized parts.

GOOD TRAITS

• Cable
• Easy modding
• Soundstaging and openness

NEEDS IMPROVEMENT

• Tonality improvements, slight bass lift

PACKAGE CONTENTS

The shell is metal and the driver actually just pops off via a rubber o-ring, it is not threaded so twisting is not the way to remove except when inserting back together to fit the wires back inside. The wires unplug via a connector, the original version of the M2S actually required soldering.

Most users will not have access to a soldering iron so the connector makes this concept more user friendly for sure. Inside the shell there is a replaceable vent but no extra vent mesh is included with the package.

The kit of mesh vents are sold from Smabat here or you can experiment with third party or DIY vents, and the different dynamic drivers can be purchased here.

The mccx cable is perfectly suitable for this Smabat M0, I actually used the same type of cable when I modded my Sony MH755. It is flexible enough that it doesn’t retain memory from coiling, it is fairly non-microphonic, and nimble which is important for earbuds that can easily fall out from excess weight.

There are also two sets of foam to cover the earbud for added comfort. One set has a hole in the center to allow minimal changes to the sound while the other set fully covers the driver. The storage pouch is made like an old style coin purse made of suede like leather.

SOUND

While I usually prefer in-ears over earbuds, I am no stranger to the differences between the styles. The Smabat M0 are bass light and thin sounding, lacking both in lower registers and midbass. Very similar to an in-ear that doesn’t seal properly. If I push them in closer, the bass comes alive but at the expense of clarity in the vocals and treble.

Male vocals, guitars, pianos and percussion instruments are missing note weight and fullness required to make them sound like-life. Female vocals sound dainty as result as well.

The Smabat M0 are clearly destined to accentuate the treble region and provide a light and engaging upper mid treble focus. Horns and stringed instruments are very present, however missing some of the lower grunt making them sound a bit hollow.

The stock Smabat M0 is clearly destined for treble lovers who want the bass to remain in the background and not muddy up the presentation. The good thing about the treble is that it is nicely presented and doesn’t reach piercing levels of pain just some minor sharpness. The upper octave is subdued a bit so it stops short of presenting too much airiness.

TECHNICALITIES

Since the Smabat M0 is so treble focused, everything feels light and airy with a good height lift, and soundstage feels wide as well. The missing bass however causes timbre issues making it hard for things to sound natural due to missing harmonics. Reminds me a lot of those small portable bluetooth boombox speakers but with better clarity.

COMPARISON

Senfer PT15 ($15) vs Smabat M0 ($35)

The Smabat M0 bass is very thin sounding compared to the Senfer PT15, the Senfer PT15 has better note weight as a result but sounds a little boxy and closed in. The upper midrange and treble on the Smabat M0 excel in clarity over the Senfer PT15 allowing the Smabat M0 to sound more spacious with a wider soundstage. The diameter of the driver insert is slightly larger on the Smabat M0. I don’t have much else in my stash to compare unfortunately.

FINAL REMARKS

Smabat has a good concept with the interchangeable parts, however the sound of the Smabat M0 model is missing vital information that could make it a general crowd pleaser. Instead it caters to those allergic to bass such as my wife, or someone who prioritizes wide open soundstaging instead of tonal accuracy.

One final surprise- even with the missing bass information I found it gives EDM music a large wide open music venue feeling. Since electronic music doesn’t rely so much on tonal accuracy, the large venue sound can be enticing.

SPECIFICATIONS

Contact us!

DISCLAIMER

Smabat sent these to me for a charge that would feed a hungry child for a day. They can be purchased direct from Smabat on their website or Aliexpress.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post Smabat M0 Review – Modding for the Tool Free appeared first on Audio Reviews.

DAC Dongles never really aroused me that much since LG was making phones that were excellent in terms of ease of good portable audio. However, now that LG is exiting the phone business the options for carrying around one device to do everything including good audio has now dried up. So reluctantly, the dongle now looks attractive for folks that don’t want to go down the DAP rabbit hole.

Tempotec seems to be mentioned everywhere these days when someone is recommending a budget friendly option either with the Tempotec Sonata HD or Tempotec Sonata HD Pro. They have recently expanded options to include balanced output versions, and general upgrades to later DAC chips. These dongles have come a long way from being cheapo band-aides of the $10 variety and Tempotec has found a way to give us what we need, transparent sound from portable devices for minimal cost.

GOOD TRAITS

NOT SO HOT

PACKAGE CONTENTS

• Dongle
• USB to USB-C adapter
• Hi-Res sticker
• Extra device protector (E35 only)

TECHNICAL OVERVIEW

These all-in-one buffet style all you can eat DAC chips include the necessary amplification, so the only thing that is supplied external to the DAC chip itself is power supply, USB interface, and clocking for sampling rate and some capacitors.

Most of these include a class H or G headphone amplifier that is a class A/B design with essentially two voltage rails +1.8V and +3.3V. These designs allow for how much voltage should be used to power the amplifier section to keep it efficient and not eat up precious battery turning it into a small pocket heater.

It is hard to remove expectation bias from these types of reviews, for example my bias is that I do not expect a huge difference between lots of these devices. There is programming that can be done to “tune” how it compensates for noise and harmonic distortion. This is most likely what you see for example when they say it is tuned by some well known brand.

This is boring stuff except for the propeller heads. There are also analog amps at the end of these DAC dongles that can react differently when loaded or at frequency band low/high ranges, but they are still a built-in part of the DAC chip itself on most of these dongle devices.

Also, it is strongly recommended to make sure what ever device these are connected to have the proper sampling rate selected. On LG Android devices, this requires certain players be utilized otherwise everything gets resampled to 48Khz which really jacks with low listening levels.

I noticed it does not exactly stay put when un-plugging and re-plugging these devices at least in Poweramp, but it only changed on me once and not sure why. No big deal, simple enough to change back in the Poweramp settings.

TEMPOTEC SONATA HD II SOUND

Why buy one? It’s small, uses about 4.9% battery per hour so approximate 20 hours of use depending on battery size, and sounds clean and mostly transparent. It is an upgrade to the Tempotec Sonata HD with a few more dB of dynamic range and DSD capability. With 16 bit music files, it should be mostly transparent. I say mostly, because it has a slight midrange emphasis.

Noise-wise it exceeds the 96db dynamic range of 16bit files. Bass is a bit soft and lower mids and treble sound smoothed over on details in comparison to the Sonata E35. The LG V30 sounds a bit more raw and warmer in comparison. Volume steps are quite large at only 15 variations of volume.

This is perfectly acceptable given the price and purpose of a small and simple USB dongle. It was plug an play on my PC, but my LG V30 has to be tricked into using it through a USB OTG adapter. This is a known Android issue on some devices, but I blame another dongle that may have crippled my USB-C port at one point. Same goes for the Tempotec Sonata E35.

TEMPOTEC SONATA E35 SOUND

Why should you upgrade to this over the HD II? If you have an HD Pro already, I think no reason to buy this one. It is the same as the HD pro with a dual DAC chip used to boost SINAD values as these dongles race to have bragging rights on how noise free they measure. Power output is only marginally increased as well from 60mW to 80mW.

The bass sounds cleaner with more definition over my LG V30. The LG V30 sounds a bit warmer despite I know it measures flat. Others might call this sterile vs warm, or it could also be called transparent (E35) vs colored (V30). My noted battery usage was about 9%/hr with my LG V30 3500mah battery so I would expect about 10hr of use- YMMV.

The Tempotec Sonata E35 also includes a rocker button for 30 steps of volume control INDEPENDENT of the source volume. On an Android phone, the source gives you 15 steps, so at each step then you have 30 more fine adjustment options. While semi complicated, I do find it useful as a coarse plus fine adjustment method. It does pull off a better three dimensional soundstage as well. Butter my biscuits, I was truly thinking I would not notice a difference. It’s ok powering the HD6XX, but doesn’t have the required headroom to really bring them to life.

TEMPOTEC SONATA E35 DESIGN CHOICES

When comparing the Tempotec Sonata E35 to the predecessor Tempotec Sonata HD Pro, gone are the external cables. The downside is the Tempotec HD Pro had a micro USB to lightning adapter, where the Sonata E35 only has USB-C. This does not prevent usage since it should work with an Apple lightning to USB adapter sold separately, but I was unable to verify. For those that still think that external cables allow for easy replacement if something were to happen.

I also originally thought that was an annoying change, but let me re-frame this in a different light. With a dongle that has a headphone jack plus a USB connection right at the dongle, this might be an annoyance in your pocket since the length of the dongle increases into something awkward and you might end up looking like you are playing pocket pool to reposition. The Temptotec Sonata E35 instead folds around like a snake and the cables are extremely flexible. This might have been a necessary design choice also to make room due to the extra DAC chip.

OUTRO

I think they are both great devices to have. So which one should you pick? For me the answer is simple, if you are planning on more active mobility use, go with the Tempotec HD II. It’s tiny, uses minimal battery, great sounding and the extra staging capabilities of the Tempotec Sonata E35 would be lost on someone out and about.

For those that plan on traveling with, but end use is stationary listening I recommend the Tempotec Sonata E35. It will give you more volume refinement and better technical abilities. For those that prefer balanced output options, the Sonata BHD or the Sonata 4.4 are also available. My personal pick is the Sonata E35, I enjoy the cleaner and more holographic sound over the LG V30.

SPECIFICATIONS

Contact us!

DISCLAIMER

Tempotec provided these to me but you can Get the both from their store here.

Our generic standard disclaimer.

You find an INDEX of our most relevant technical articles HERE.

The post Tempotec Sonata HD II vs. Tempotec Sonata E35 – Excitement for Your Pocket appeared first on Audio Reviews.

Nozzle mesh screens sometimes look like a decorative piece or something just to keep the ear juice out. They can create problems though when they wick up too much moisture or modders decide to remove them completely. Below you can see up close images of various nozzle mesh screens serving a vital function – to dampen unwanted resonances. The screen openings themselves (number of holes + diameter of holes) can also factor into the tuning of the earphone, but this was not included as part of this investigation. Below are samples of certain earphones where nozzle screens were discussed in more than passing on certain forums, as well as a popular modder tool otherwise known by the name of micropore tape or paper tape.

KZ ZS3

It was quite the rage to remove these screens and I see why. Mine was actually two plastic screens stuck together. Was this a mistake or on purpose?

SONY MH755

Reviewed here. Modders like to remove the foam plug, but do not remove the black mesh screen. It tames the peaks at 2.8kHz and 5.3khz giving it almost a textbook Harman curve. Very much important noted by certain modders like Slater.

BQEYZ SPRING 1

Our takes on the Spring 1 here. Modders claimed by removing the screen it would get rid of the woolly bass. I removed mine and the quality of the bass did not change, but treble peaks were turned up giving the illusion of improved bass. The bass was just masked by the extra treble punch. Again, I do not recommend removing unless there wasn’t enough upper midrange in the stock tuning. I have heard that other BQEYZ models employ tuning filters directly on the BA units, so this might explain why the screen only has a minor impact.

MOONDROP KANAS PRO

We covered the KPE exhaustively here. Notorious for clogging with moisture in high humidity areas or sweaty ears, Moondrop eventually started selling replacement nozzle screens and included them in subsequent models like the Starfield. They have an interesting arrangement of a small rectangular area with extra damping coverage. Similar to using a partial piece of micropore tape. Again removing it introduces peakiness. Not recommended.

MICROPORE TAPE (3M NEXCARE PAPER TAPE)

Micropore tape has a very irregular pattern. Not much to say about it other than it doesn’t seem to target any specific frequency. All the other filters are uniform and tend to dampen certain frequencies. Useful as a butter knife, not a scalpel.

SUMMARY

So personally, I do not recommend removing nozzle mesh screens unless planning to replace or mod with something else. There might be exceptions such as pure balanced armature IEM’s that utilize resistance damper filter plugs on the end of the balanced armature itself. Therefore the nozzle screen is not like putting a screen door on a submarine, most appear to be used as resistive dampers to tame the frequency response. I’m not suggesting it is wrong to remove the filters, but be aware of the consequences. If there are other earphone modding materials you would like to see up close and personal, leave a comment below or feel free to get in touch with us and we will see what we can do to expand this article.

Contact us!

DISCLAIMER

Sometimes I stare blankly at walls.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post Nozzle Screen Filter Impact on Frequency Response appeared first on Audio Reviews.

CCA has not impressed me (or some of my other com-padres) so far based on my limited samplings of the CCA CA16 (jumbled) and CCA C10 Pro (remix), but that finally changed with the CCA CKX. First impressions are always important and once the CCA CKX is plucked from the box the heftiness in such a tiny package will put a grin on your face. Sound is very familiar and improves upon the C10 Pro with a less aggressive midrange rise giving listeners a better balanced signature with tighter bass control, improved clarity throughout the midrange treble transition all in a solid compact form factor. A surprising feat for a $69 hybrid 6+1 configuration.

THE PACKAGE

The cable included with the CCA CKX is similar to the KZ ZSN pink color, not the smaller diameter KZ ZSN other color if anyone remembers the cable difference history of budget offerings. The eartips are white starlines instead of the typical black, so anyone familiar with what has been coined as “starlines” is an acceptable tip, firm and grips well. What had me grinning was the earphone though, the metal shell feels very sturdy and polished in the unassuming matte styling which I thoroughly enjoy. It feels heavier than other metal styled contenders such as the TRN V90 or the BQEYZ Spring 2, however the size is tiny comparatively. People who desire a smaller IEM should definitely consider the CCA CKX because I couldn’t find anything in my collection of universals that are the same sizing. Isolation is average for me since it does not fill my ear as much, but the lower provide helps with wind noise.

SOUND

CCA CKX boasts boosted powerful bass with controlled seismic capabilities maybe ever slightly dull. If I were to describe it in paint sheen I would give it an eggshell maybe satin rating. It can sound overly thick on electronic and pop music, but it provides throbbing basslines enough for those that don’t want to be considered bassheads. It sounds less bass peaky than the CCA C10 Pro leaning on thump over midbass bump. As we follow the basslines into the lower mids on the CCA CKX there is some coloration making things sound full if not a little thick. Upper mids sound snappy as if someone turned up the contrast knob, beware of poorly recorded tracks- clipped vocals will be exposed as scratchiness. Some smoothing would tame this a bit, but perhaps this is the allure of the CCA CKX and the use of the less common 30017 BA driver which was also used in the TRN STM. The CCA CKX follows the trend for IEMS tuned using a Harman curve ditching the scooped out middle treble region aka presence region and instead letting this area shine. This can go good or bad depending how much they let loose on the popular 30095 BA driver. When utilized, an IEM can sound very energetic and lively which the CCA CKX has achieved. One of my previous budget favorites the TRN V90 is overshadowed easily by the slightly smoother yet still edgy CCA CKX, there is a cost difference of course. Comparing the CCA C10 Pro, they are similar in this area but the CCA CKX does take it up ever so slightly due ot less peaky upper midrange allowing other areas to balance it out.

TECHNICALITIES

Timbre on the CCA CKX is a bit plasticy. Instrument separation is good we loose some definition in the treble, I sort of wonder what it would sound like if the extra 30095 BA in the nozzle were eliminated. Perhaps it would clean up this area of weakness. Coherency otherwise is good for a multiple driver hybrid, I think the treble is the only area that feels a little busy with cymbals sounding too splashy and washed out. CCA CKX staging is wide, depth is shallow since it is forward sounding, but layering is nice and even. Powered easily from a portable phone or DAP, amplification not needed but always appreciated. My Sony A55 powered it just fine as did my LG V30.

FIN

Well done, the CCA CKX is very mature and unassuming which is something to be appreciated for those tired of larger shaped universals. The sound signature is very familiar, bassy and energetic without sounding too recessed more V signature tuned to western ears. Value-wise they are plopped into the right pricing bracket. The size of the CCA CKX packed into a solid shell with a medium midrange rise achieve a nice to have recommendation from me.

SPECIFICATIONS

GRAPHS

• Various eartips -Starline (blue), Widebore Silicone (pink), Foam (green)
• CCA CKX vs CCA C10 Pro
• Impedance Plot

Contact us!

DISCLAIMER

CCA let me save some of my hard earned newspaper delivery funds by providing this set to me. Get it from Amazon, Aliexpress or any other option.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post CCA CKX Review – Hunky Dory appeared first on Audio Reviews.