The TRN BAX PRO were provided my review by the manufacturer. I thank them for that and also apologize for the long delay of the publication of this article owing to some lengthy orofacial problems. You can get them from TRN Audio.

Introduction

TRN, or more precisely, Dongguan Zuodu Acoustics Technology Co., Ltd. are a ChiFi player of the first hour, from a time when a budget Chifi model reached easily 40,000 views on Head-Fi in a few weeks. Examples are the TRN V80 and V90.

TRN, like many other relatively inexperienced ChiFi companies (compared to, let’s say, the more established Sennheiser or Audio Technica), overestimated their abilities and prematurely released earphones in the premium segment that may have had the ingredients but the final meal was subpar. For example, the TRN BA8 was a screamer and unable to deliver musical enjoyment to the aided ear. And the original BAX was apparently not much better (I was told).

Time cures wounds and companies mature. TRN reassembled and tried again in order to close the reputation gap to, let’s say, Dunu or Moondrop.

Specifications TRN BAX PRO

Physical Things and Usability

The BAX PRO features quality ingredients and an interesting architecture: 1 DD + 2 BA + 2 EST: a Beryllium diaphragm for the bass, 1 Knowles 29689 BA for the mid frequencies, and another Knowles BA 33518 as well as two Sonion electrostatic drivers for crisp treble. It also comes with a modular cable with 3.5 mm single ended and 2.5 mm & 4.4 mm balanced plugs.

In the box are the earpieces, 2 sets of eartips with three tuning switches, the modular cable with three plugs, a strange plaque, a small tool for moving the switches, the usual TRN metal storage box and the paperwork.

The CnC machined, sturdy earpieces are rather large and have a bit of an unusual nozzle angle. Some people complained about not getting them deep enough into their ear canals, I have had no issues. But I don’t get the world’s greatest isolation with them either.

The eight-strand single crystal copper cable is rather pliable and, appeal wise, average. The eartips (2 silicone sets and 1 foam set)) are also nothing to write home about. In summary, the BAX PRO’s haptic is ok.

The BAX PRO are easy to drive.

Tonality and Technicalities

It is very difficult to give you an accurate account of the sound considering the options you have with switch positions and (stock) eartips. The BAX PRO are also sensitive to insertion depth so that different reviewers may report different results. Let me start with the black stock eartips and all switches in the “off” position [“Equalization mode”].

If you expect another TRN shoutfest, you may be surprised to hear that this is not the case. The BAX PRO offer a slightly warm however transparent sound with vocals in the foreground and zero shoutiness. I was quite delighted when I tried them out the first time and left them in my ears for a couple of hours going through a selection of jazz, rock, and classical.

What sticks out to me is the lower midrange: both female and male vocals are sparkly, very well sculptured in three dimensions, and rather intimate with a very good body. Bass is digging deep but is a bit subdued, thick, and could be a tad crisper while having enough kick…a bit similar to the Sennheiser HD 600 headphones…but you can tweak this with the switches, insertion depth and eartips. The midrange has good transparency and resolution without a hint of shoutiness. Very realistic.

TRN spent lots of attention on the treble – which are very well carved out with excellent resolution. My treble testing passed, for example, Anne Sophie Mutter’s rendering of the very high violin notes of her pieces from Star Wars. Cymbals are very clean…though rather subtle.

The technical merit of the BAX PRO is also very good. Stage may be average in two dimensions, but the spatial reprodcution and imaging are excellent. You really can spot the singer on stage. Dynamics is also good.

Timbre is also rather natural. I much preferred it over the glassy BA sound of the Blessing 2, allegedly the first $1000 soundalikes at $300. I listened to a lot of Beethoven piano music and orchestral pieces with great pleasure.

The piano touch was quite realistic and revealed a good driver speed. Timbre and dynamics paired result in orchestral sounding natural and developing a healthy richness and volume. Surprising how good the BAX PRO work with acoustic instruments of any quantity.

I confirmed my positive listening impressions when connecting the BAX PRO to the EarMen stack after listening to the Sennheiser HD 600. They did hold up to my big surprise.

Let’s have a look at the switch settings.

Equalization

The standard mode which sounds best to my ears. I use this mode as comparison to the other switch settings.

Electronic Mode

Enhances the upper midrange and introduces shoutiness. Not for me.

Transparency Mode

Bass imbalance 2-3 dB. Reduces bass and adds upper midrange. Introduces even more shoutiness than Electronic mode. Transparency is good enough without this mode.

Atmospheric Enhancement

Is the same as Electronic Mode in my measurements…I did two independent measurement runs to confirm.

High-Frequency Mode

Adds to upper midrange and to treble. Only for the hardest of us who get up with cheap Bourbon whiskey in the morning. Too bright for the rest of us.

Low Frequency Mode

Essentially the same as Equalization, with the upper midrange minimally tuned down. Good.

Compared to the LETSHUOER EJ07M

The EJ07M have been one of my daily drivers for the last couple of years. They also sport electrostatic tweeters and are, at $649, ca. 50% more expensive than the BAX PRO. They feature smaller earpieces with a different nozzle angle, which probably provide a better fit for many. Their imaging is flatter than that of the BAX PRO (in the Equalization setting), they are generally a tad brighter sounding and more coherent overall.

The BAX PRO have the upper midrange dialled down (in the Equalization setting), which makes the vocals thicker but also duller and less dynamic. In terms of treble resolution, both are pretty even, with he BAX PRO possibly a tad ahead. I’d like the EJ07M’s form factor with the BAX PRO’s sound.

Overall, the price difference appears arbitrary.

Concluding Remarks

The TRN BAX PRO come as a very pleasant surprise to me. They sound enjoyable to my ears with all musical genres I threw at them. The money is essentially in the excellent holographic staging and imaging. But I am also confused: the switches are not very useful as most of the settings only add shrillness nobody needs. Sometimes, less is more!

My other criticism is the very generic accessories (cable, eartips). And some may have problems with the fit owing to the unusual nozzle angle. Sometimes, more is better!

In the end, I recommend trying them out if possible. I may have to send them on a western Canadian tour to gather some feedback from Biodegraded and Co. We may have a diamond in the rough that is overlooked owing to lack of concerted promotion and organized hype.

TRN are finally on their way to join the likes of Moondrop and Dunu in the mid tier segment (if they leave useless gimmicks such as switches off). They now have to substantiate this with other models. Durwood is currently taking on their Dragon Azure, and I am anxious to see what he will come up with.

Until next time…keep on listening!

The post TRN BAX Pro Review – Electroexstatic appeared first on Music For The Masses.

INTRO

Lately, TWS earphones like the Creative Aurvana Ace 2 have been impressing me more than the budget wired earphones in the same pricing range. With new technology from xMEMS that makes promises to improve our aural experience, the xMEMS technology is better suited for TWS given that it requires a constant voltage to keep the plates charged. While this may add an additional drain on the battery of the TWS, it does not seem to impact it too much.

DESIGN COMMENTARY

The xMEMS are similar flat panel type drivers, they do not have the excursion to reproduce bass frequencies as well without being larger than normal, so it seems better suited for treble duty for the time being. They do have larger models, but I am not aware of any commercial products using them currently.

MEMS have already been used for microphones in some wired models and also smartphones, now they are using it as an actual driver. There were even suggested automotive applications from other technology companies. It is a wide band piezo style silicone based surface mount device.

Seeing new technology making tons of promises is nothing new, the question is does it live up to the hype? So what does xMEMS promise? You can read about it here, or I have summarized my take:

• Semiconductor components that can be surface mounted, good for automated assembly.
• Improved material stiffness, this pushes the breakup mode higher in frequency where it is less audible especially if it can be pushed above 20Khz. They are claiming >10khz, so it must still be in the audible band.
• Phase Coherence
• Near-zero phase shift
• Excellent transient response
• Shock resistant up to huge values
• Easier fabrication (This implies a cost savings somewhere, either for the consumer or the manufacturer, most likely the latter.)
• Better uniformity. I have some experience in what they call binning. The tolerances of products may ultimately be graded and “binned” into lets say A,B,C etc categories. Binning can be used to match tolerances, charge more, provide longer warranties, charge less if they are slightly outside of tolerance, or used in other less demanding applications, etc or a combination of these. With better uniformity and stricter tolerances, then there is better matching from Left to Right channels.

Creative Aurvana Ace 2 is plastered predominantly on the rotating splash page for www.xmems.com They are the first model to use the Cowell/xMEMS coaxial driver so we are not getting all the claimed advantages of their single full range xMEMS model. It is new nonetheless, there are other brands using them too however, I see Noble Audio also has a model available for example.

FEATURES

The Creative Aurvana Ace 2 priced at $149 comes in a familiar earbud styled shell like the Airpod Pro, and charges via USB-C or wireless in a translucent compact case. On the bottom is a pairing button, and the USB-C port.

A new trend I am seeing more and more of is oval shaped nozzles. I know this is supposed to be a better match for our ears, however I seem to have mixed experiences with fitment. The Creative Aurvana Ace 2 shell is longer than the Moondrop Space which also has a similar shape and oval nozzles, and therefore fits better for me and of course others may have a different outcome.

With the Creative App, users can update firmware ( I already updated twice in the span of a month), change EQ presets or modify your own, and change the button controls. Screenshots are below. Additionally there are three sound modes, ANC, Ambient and off. I noticed the off mode keeps wind noises at bay, ANC and Ambient both amplify wind noise. Highly encouraged to use the app, otherwise you will miss out on firmware updates that may be required for proper operation.

Unfortunately, the ANC testing is at the wrong time of year as I have yet to fire up the lawn mower and have no airplane trips scheduled. Best I can do is test in the bathroom with the fan on. Bathroom fan testing reveals a quiet hair dryer sound, it is similar to the Moondrop Space. Sony WF-1000XM3 still reigns supreme for me (I have not tried the XM4/XM5 models).

The ambient mode on the Creative Aurvana Ace 2 was actually more enjoyable than the ANC. Somehow it improves the Ace 2 soundstaging similar to open-back earphones without the loss of bass. On windy days it will boost windnoise, but inside it works out great.

I briefly played with the EQ settings, it reacts strangely in that making changes to a band also makes changes to the surrounding band. You will notice it if you set a band, and then makes changes to the one right next to it, move it up or down and watch the neighboring band also move up or down with it. I have never seen this behavior with other apps, either is a glitch with the APP, or the Q is too wide.

SOUND

Tested with iPhone 13 and LG G8.

I would describe the Creative Aurvana Ace 2 as a V shaped tune if not close to Harman. Bass comes through boisterous and fat on the Creative Aurvana Ace 2, over accentuating say foot stomps that normally only slightly show up causing a jarring sensation.

Given Creative’s heritage in computer based audio for gaming purposes, this is probably a purposeful design goal and not necessarily a negative if primary use is for gaming. There are also soft landings on the bass hits and could use more definition. It slogs along on a Sunday stroll rather than with purpose.

Lower mids sound full and warm, while midrange comes through realistic sounding with plenty of blank spacing around them. This lets the vocalist sound like they are singing in a larger space and not closed in and dull. Woodwinds are soft and delicate sounding.

Creative Aurvana Ace 2 delivers on the quick transient treble response, I do not pickup any coloration. There are some hiccups, horns have trouble sounding continuous. Perhaps there is a crossover between the drivers smearing it making them sound jagged. Sparkle and air tail off in a good way, cymbals and triangles for example have nice shimmer and ringing as required.

Coming back to the bass output on the Creative Aurvana Ace 2, it pulls the wide stage forward with the whole stage between your ears. Timbre is pretty spot on, height is predictable. The KZ VXS Pro sounds less forward and lower midbass provides a tad more definition.

The final feature that I find invaluable is multipoint connection and the Creative Aurvana Ace 2 comes equipped with said feature. It worked flawlessly between my Iphone and LG G8. Initially I had trouble with my Lenovo laptop, but after a firmware update it seemed to rectify the problem of it immediately disconnecting. I did have a hiccup a few times where one earpiece was disconnected, I am not sure if it was user error or on purpose, but sticking them back in the case and then pulling them out made them both start working again.

GOOD TRAITS

Ambient, ANC modes
Multipoint
Wireless Charging
Brightish Treble sounds quick and mostly concise
EQ settings/App
Low Latency toggle in app
Charging case is pocket friendly

NEEDS IMPROVEMENT

Computer connection disconnects
Oval nozzles does not always fit well in my experience
Bass is boosted too much and could use more definition
ANC is not at Sony levels.
APTX Lossless and lower codec support
EQ band changes affect surrounding bands, needs work.

FINAL REMARKS

Creative Aurvana Ace 2 is a good choice for TWS if you want accentuated bass and clear upper treble but do not necessarily need top tier ANC. Although it is not a strong contender for ANC performance, the ambient mode is nice and opens them up. The petite case is appreciated, and has wireless charging, battery life seemed middle of the road.

At $149 value is on the low side when you start comparing to the larger market share of Sony, Bose, Apple and Sennheiser for example. You can even find the good models from those brands used for cheaper. I am not completely sold on xMEMS being the end all be all, but for a first go it has better dynamics and timbre than some planars and BA drivers, but there is not a big difference noticed yet.

Disclaimer: I appreciate that Creative sent these free of charge for evaluation, this review as always is influence free, guilt free, and gluten-free.

CREATIVE AURAVANA ACE 2 SPECIFICATIONS

Product Page

CREATIVE APP SCREENSHOTS

Contact us!

DISCLAIMER

Available for purchase direct from Creative, Amazon and other retailers.

Our generic standard disclaimer.

About my measurements.

The post Creative Aurvana Ace 2 TWS Featuring xMEMS IEM Review – Come As You Are appeared first on Music For The Masses.

The Rhapsody is yet another assembly-line earphone from the KZ/CCA stable with a decent sounding Harmanish tuning that can be altered with a set of switches.

CCA is a sub-brand of Knowledge Zenith (“KZ”). Together both brands must have released 100 different models, each with an estimated shelf life of about three weeks. Almost all of them are positioned in the budget realm, therefore affordable to be bought in bulk, suited for stimulating the obsessive compulsive buying habits of some personalities. The numerous models are also rather repetitive in both sound and haptic. KZ and CCA are the earphone equivalent of fast fashion such as SHEIN, Primark and Co. Both stand for modern overconsumption.

Many buyers have been saturated with CCA/KZ models as you can read in the comments to my recent April Fool’s Day article:

We at audioreviews.org have certainly been saturated with budget models a long time ago and thankfully explicitly declined KZ’s request to review this one…but it ended up in my mailbox anyway. This is no arrogance from our side but self protection related our natural learning process: our ears have simply outgrown the budget segment. It is no fun anymore. Focusing on interesting and inspiring gear prevents burnout. Let the juniors take on these to earn their stripes, or the reviewers who make money from these with affiliate links and Google ads.

Since we do not rely on advertisement income based on the number of views (or none at all), we can, to some extent, take on gear that is interesting. And KZ/CCA earphones are largely not for us…except perhaps the current AS24 model.

The Rhapsody is yet another Harman-ish tuned iem with tons of B-grade drivers (2DD and 4BA). The shells’ resin and cable I have had in my hands at least 100 times before…good quality…but I wonder whether KZ/CCA’s earphone designers are dying of boredom. How often have we seen this combination before?

Whilst, the admittedly superbly designed product page hails the Rhapsody as the “New King of Hybrid IEM”, and “a new pinnacle of HIFI In-Ear Monitor, born for extraordinary auditory experience”, I wonder which of their “4-level tuning switches” should relate to that.

I give it to CCA that they make such claims without relying on the good/questionable names of YouTubers in so-called collabs.

In the end, I did it to me and tried the CCA out (with all switches off), and I had a perfectly average Harman-type experience. No need to even measure that. Nothing wrong with the sound, it is good middle of the road. Nothing piercing, nothing muddled, it may help me falling asleep at night.

What sets the sound the Rhapsody apart from more expensive iems is their lean reproduction, particularly in the vocals department. This has been a long-standing issue with KZ/KBEAR etc. earphones (I have never tested an CCA).

The Rhapsody fit well, are comfortable, and are relatively big owing to the large number of drivers. The fact that CCA can sell that $50 set for $36 on sale (without a loss) points to their profit margin.

Everything in the Rhapsody is just plain average. If you are not experienced in this hobby, they would be a good start, especially as you can play with the switches. But if you are earphone savvy, these are just repetitive…for the umptiest time.

If you want a decent CCA/KZ iem, get the AS24 model.

Until next time…keep on listening!

Specifications CCA Rhapsody

The post CCA Rhapsody Review – Fast Fashion appeared first on Music For The Masses.

KZ, or Knowledge Zenith, or Dongguan Yuanze Acoustic Technology Company Ltd., have been flooding the western markets with earphones since 2014 (and the domestic market probably much earlier).

We may remember the early ED1 and ED2 that came in plain blue boxes and cost $5, including shipping from China. These were actually quite decent iems. KZ briefly built on their early success with some more sophisticated dynamic-driver models like the popular ED9.

When balanced armature drivers became affordable at around 2017, KZ were one of the first players to catch on and cash in on a grand scale. I quickly purchased and/or reviewed 22 of their models but stopped when they started to overflow and jam the lowest drawer of my office desk. KZ exacerbated this effect by producing bigger and bigger models such as the ZS10 or the BA10.

Their first multi driver models had a V-shaped sound characterized by vocals buried behind the soundstage, like the ED16. But they were cheap, most of them sold for below $25. Their next generation was characterized by an exaggerated upper midrange that produced a sharp and shouty sound. Examples are the EDX and ZSN Pro X.

But KZ did not give up and, in collaboration with the Comical Research Interference Network (C.R.I.N.), they fabricated at least one model with mostly decorative drivers (which they may have taken over from Campfire Audio): only some in each model actually “fired”…which did not play a role as some professional YouTubers did not notice it, possibly owing to too much decorative makeup around their ears. Decorative drivers helped keeping the price down, and YouTubers are mainly decoration, too, albeit annoying ones (for adults).

KZ play the game and they play it well: cashing in on obsessive-compulsive buyers who need their weekly fix…or mail call, as they call it on Facebook. These are eternal sidegraders. Such buyers spend cumulatively way more money on their countless budget models than on a decent earphone such as the Sennheiser IE 600, which would stand the test of time.

KZ must have a sign in their conference room: Many a little makes a mickle!

Finally, the KZ AS24 is a good earphone. It is model 1199. Yes, there are slightly more KZ models than Bruce Lee karate movies, and way more than words spoken by Sylvester Stallone in his Rocky francise. Number 1200 will be released soon. Congratulations!

Until next time…keep on listening!

The post KZ To Release Their 1200th Earphone Model appeared first on Music For The Masses.

INTRO

TRN Conch is calling from 2018, and looks like TRN dusted off the V30 shell and equipped it with a single dynamic 10mm DLC coated driver. Shell shape is familiar, coils tightly and fits easily in smaller ears, however the nozzle width is still quite large. I did like this smaller Dunu like shell back in the day from TRN, but seasons change. Unfortunately the smaller size allows it to float in my ear, and the angle of the nozzle tends to push out of my right ear.

I’m just going to get right to it, Diamond Like Coating doesn’t mean it needs to cut like a sharp blade, but that is what we have here. DLC was all the rage 2 years ago and still works great in some other models. I bought another DLC IEM from Senfer a few years ago that was just so rough I could not even review it, plus it had major channel imbalance. While the TRN Conch looks like a great vacation package, the reality is far from white sandy beaches and tasty fruity beverages.

SOUND

Tested with LG V8, Shanling UA3

The TRN Conch has a dry damped bass reminiscent of British bass. It was tuned to have the mid bass snap with some leftover sub-bass for dessert. Vocals sound a bit chesty since the bass is more mid-bass centric. Not too sculpted though with a soft mushy center.

Midrange is clear and resolving with average depth definition which is right in line for something in this price range of $38, but then we continue into the overzealous treble that hits sharp and grainy occasionally becoming sibilant.

Timbre has an unattractive tinge, but I also do not ever remember any TRN model being a poster child for normal. Instead they tend to always shoot for big treble with highly focused presence where snare and cymbals jump out, at least that has been my experience with all the models I have used.

All this excitement comes even when using the tuning nozzles I find the least offensive. The other two have the tell-tale eastern 12-15db pinna upper midrange that makes them extremely forward. The level of detail for the TRN Conch unfortunately does not need a magnifying glass put towards an area it struggles with.

PACKAGE CONTENTS

The TRN Conch comes with extras you would expect in a $100+set with the hard circular case, the swappable tuning nozzles, 2.5mm/4.4mm balanced 3.5mm single ended connectors, and great sticky advanced eartips named TRN T eartips. They feel similar to the MOONDROP springtips. The cable is above average and more premium than TRN/KZ entry level thickness and quality that reduces some tangling, and the chin slider moves easily.

All these extras attracted me to the TRN Conch for curiosity anticipating a new TRN ready to take on the midfield “budget”. Ignoring the zesty treble it might work for mellow tracks, but anything else is tiring for me. I recommend pairing it with a warmer source to tame the sharpness and smooth it out even further.

Perhaps the tuning nozzles are worth stuffing some extra dampening materials inside to tame that treble peakiness around 8khz, but there are others ready to go without this hiss. This was not the more mature TRN I was hoping for, the treble has the contrast turned to 11.

TECHNICALITIES / COMPARISON

Staging is quite narrow feeling, I tried the reference and atmospheric nozzles with no improvement. The reference moves the staging closer, but there is still congestion.

In comparison to the TRN Conch, the Kiwi Ears Cadenza has a leaner proper midbass, and lower midrange with less pizazz in the treble and is easier to listen to without a hint of sibilance. The TRN Conch has better ear-tips that stay on the nozzles, and the accessory kit with case and connection types, but is that supposed to be the main show?

THE END

The TRN Conch as an IEM is the summary of the book, and not the actual book. While you get a decent picture and substance of the music, to fully appreciate the nuances requires more in depth studies.

The accessory package is good, the bass lacks some definition and the sibilant treble is sharper than I would like. In this day and age, a rookie mistake even for $38. Overall the window dressing is only enough to get a passing grade, but this will not be a good memorable IEM for me other than a DLC IEM that sounds like a sharp rock.

Disclaimer: I would love to extend gratitude to Shenzhenaudio who sent these free of charge.

SPECIFICATIONS TRN CONCH

Resistance 30 ohm
Sensitivity 114dB
Driver: 10mm Dual Circuit DLC Dynamic
Shell: Metal
Cable: 0.75mm with detachable 2.5mm balanaced, 3.5mm, 4.4mm balanced

TRN CONCH GRAPHS

• Left vs Right
• Nozzle Tuning

Contact us!

DISCLAIMER

Get it from SHENZHENAUDIO

Our generic standard disclaimer.

About my measurements.

The post TRN Conch IEM Review – Watch Where You Step appeared first on Music For The Masses.

The TC01A and TC01C USB adapters were provided by ddHiFi for my analysis…and use. And I thank them for that. You get them from DD Official Store for $8.99 each or $15.99 for the couple.

What? An adapter review? Another one? Does anybody care? Sure, I love adapters, but I never intended to write one about the TC01A and TC01C. When I was asked to analyze the Janus3 earphone, I inquired whether I could try these out. I have purchased quite a few of USB-A to USB-C adapters (in both directions) since Apple changed their USB notebook ports from A to C.

I purchased a few cheepos and a couple of UGREENs. UGREEN is a reliable brand. But there was one problem I could not resolve: getting a tight, stable connection between my Hidizs AP80 Pro-X DAP and the USB-C to USB-A adapter. Most did not work because of the DAP’s leather case, and they also did not fit firmly without. I often had my music interrupted when the connection got loose. Annoying.

On top of that, I am operating amps and headphones with variable 3.5 mm and 4.4 mm sockets and plugs, and also purchased adapters between these two circuits. Relying on cheap no-name adapters from aliexpress caused more harm than good. Independent of sonic issues, some of these did not fit properly and I often had only one channel working.

The TC01A and TC01C are pricey – $16 USD for the pair – but they work. I now get a snug fit on my DAP and the thick leather case ain’t a problem for the connection either. Haptically, they are head and shoulders above their competition. And they are the only ones with gold-plated contacts.

What about the sound? Will probably make no difference. But that’s not really my concern. I want a reliable connection. And it looks good, too.

These are definitely the highest quality USB adapters in my collection.

Sometimes, simple things an make a big difference.

Until next time…keep on listening!

Contact us!

DISCLAIMER

Our generic standard disclaimer.

The post ddHiFi TC01A and TC01C USB Adapters Review appeared first on Music For The Masses.

At-a-glance Card

Full Device Card

Test setup and preliminary notes

Sources: AudioQuest DragonFly Cobalt / Chord Mojo / E1DA 9038D, 9038SG3 / Questyle QP1R, QP2R, M15, CMA-400i / Sony WM-1A – Final Type-E silicon tips – Dunu DUW-02S cable – lossless 16-24/44.1-192 FLAC + DSD 64/128/256 tracks.

Signature analysis

Tonality

EA1000 are tuned following a wiiide V shape, and feature a replaceable “tuning nozzles” system to offer interesting variations of the tonal balance on top. There is a slight metallic sheen coming up on the high trebles, also depending on the source material.

No matter the nozzle choice the timbre stays more or less unchanged: mid-bodied notes across the board with a sole exception for lean-ish low mids, and a commendable overall organicity.

The various nozzles deliver different sonic nuances vis-a-vis their building materials (Gold ones are made of brass), their length, their front mesh and of course the sponge or cloth they may be filled with. Here’s a description of the differences each one brings to the board.

Red nozzle : midbass is somewhat “bloomy”, its notes tend to “expand” a little bit; highmids and treble are instead near-precisely the tonality I prefer. Too bad for that bass, which is not as organic as it should.

Gold nozzle: midbass is evidently more combed, and I like it better, but so is treble too, while highmids are more forward. Guitars and femaie vocals are probably best expressed here, but stage height is cut off, and air and spatiality take a hit.

Black nozzle: midbass is the same as Gold, while high mids and treble are very similar to Red, with possibly a slight tad more energy on one hand, and a bit less depth on the other.

It’s a toss between Black and Red for my particular tastes, and well… I experimented further and found out that in the end I prefer Red with a -1,5dB Q=1 correction on 90Hz to “clean” those doublebass vibrations off. And yes, I’m a “never happy dog” !

Sub-Bass

Sub bass is extended but not elevated. Rumble is present but not imposing itself, which is perfectly good for my library but may be a point of contempt for other musical tastes.

Mid Bass

Mid bass notes are very well rendered by EA1000, with the Red nozzle adding a bit more butter compared to the other two alternatives.

While such makes them a bit more greasy than they should to be called perfectly organic when it comes to render acoustic bass instruments, the effect is indeed not excessive so not only it is welcome in conjunction with many musical genres, but also not necessarily unwelcome even to hardbop or modal lovers.

It’s quite easy to guess – or hope? – that the high quality of EA1000’s mid bass rendering is also directly dependent on that uncommon “Passive Radiator” device inside the box, and anyhow this is what Simgot’s marketing insists on making us believe.

Mids

Mid frequencies are a bit of a mixed bag here. They are recessed in their central part, and somewhat lean in their lower segment.

High mids however go up in power quite rapidly between 1 and 2KHz which is where they give their best. As a consequence, and simplifying maybe a bit too much, EA1000 render guitars and sax tenors better than pianos, for example.

Male Vocals

Vis-a-vis what I just noted about mids in general, male vocals are a territory where EA1000 don’t fare particularly well: especially baritone and bass voices come out perceivably leaner than real, and that’s a common trait no matter the nozzle installed.

Female Vocals

Opposite of the male case, female vocals benefit from a better tonal situation on EA1000 and in facts come across very naturally colored, bodied, detailed and very pleasing at all times.

Highs

Treble is one of the areas where EA1000 do best, and at the same time one where the 3 different nozzles apply more significant variations.

As I anticipated above, to my tastes Red nozzles nail it, period: “Red” trebles are energetic yet still not excessively so, bodied, very detailed, and they “breath” a lot of air in terms of spatiality. Their sole real downside is that perceivable metallic aftertaste coming up once too often – it’s not too strong, nor too fastidious, but it’s undoubtedly there to make the final result just a bit less than fully positive (what a pity).

Golden nozzles furtherly strengthen highmids and low trebles, while also taking some of that magic air quantity off. Black nozzles are very, very similar to Red up there, juts a tad less airy (but less so compared to Gold).

Technicalities

Soundstage

Width and height are very extented, much beyond what you normally get on similar priced IEMs. Depth is “only” barely above average, always referred to the same category.

Imaging

Macrodynamics are very well executed on EA1000, with always precise instrument positioning on stage.

Details

EA1000 offer very good detail retrieval in the high mids and low treble.

Retrieval is good on midbass too, where the concessions made to drama and musicality just rarely steal something off note contouring. As my few readers know I’m noticing this as I’m biased towards acoustic music.

Instrument separation

Separation, layering and microdynamics are all no doubt EA1000’s excellence points. It’s indeed very uncommon to find better around, not only at this price point, but much higher too.

Driveability

EA1000 are easy to drive in terms of sound pressure output thanks to a good sensitivity (109 dB/mW) paired with a not too low impedance (16 Ohm). Their sound quality scales with amping quality however – I suspect this may have to do with that passive radiator device.

Physicals

Build

EA1000 offer a very convincing feeling of solidity and reliability. Their full metal housings are obviously impervious to reasonable physical damages (and possibly to some unreasonable ones, too).

Faceplates are covered by what are declared as “crystal” (!) glasses. I couldn’t assess whether it’s actually crystal, all I can say is it does not appear to be easily scratched, and when in contact with a metal tip it does not tend to sound “plastic”.

For the benefit of those who pay particular attention to aesthetics it should be noted that the housings’ chrome finish and of the “crystal” faceplates are very well taken care of, and that will help them feel alive in their compulsion to continually wipe every surface clean of fingerprints.

Fit

EA1000’s housings fit me near-perfectly in terms of size & shape. Nozzles are not too short, and they are mounted on a sort of protruded portion of the shell. Eartips of the right size easily get a grasp – even more than a seal – onto my canals’ internal surfaces, with this contributing to a firm seating once properly worn – all this in spite of the earpieces not being precisely “featherweights”.

Comfort

As mentioned above EA1000 sit well in my outer ears and prove perfectly comfortable to wear, even for prolonged periods of time.

Isolation

Given the housings’ shapes and calibrated dimensions, EA1000 shells form an important isolation barrier. The multiple vents, and most of all the wide opening corresponding to the passive radiator do of course take steps in the opposite direction but I would say that the overall result is more than satisfactory anyhow.

Cable

EA1000 are sold with a replaceable non-modular-terminated 3.5mm cable. Its aesthetics and haptics are more than ok but I could not conduct my usual comparison tests round-robining amongst my various sources as most of them got balanced outputs. I can’t consequently offer an opinion on the stock cable’s sound performance. For my tests I paired a Dunu DUW-02S cable.

On a more commercial note, given the recent (2-3 years) market evolutions, the fact that an otherwise “premium” package like EA1000’s does not offer a balanced termination cable option – be it in form of available choice at order time or of modular termination system – is to be reported as a negative remark in the general evaluation.

Specifications (declared)

Comparisons

Tanchjim Oxygen (€ 190)

Oxygen feature a bit softer attack, yielding into less punchy bass and overall silkier, more relaxing timbre. Oxygen’s tonality is overall more organic, exquisitely neutral – which may of course be a love-hate thing in some cases. Their midrange is not recessed resulting in much better vocal and guitars rendition. Oxygen’s trebles are less energetic, airy and sparkly.

Stage on Oxygen is a bit narrower, perceivably less high, but much deeper. Lastly, Oxygen are much more demanding in terms of source power.

Intime Miyabi Mk-II (€170 + import costs)

You can find my Miyabi review here. Miyabi Mk-II differ from Miyabi insofar as their mids are less upfront, and their timbre is dryer and clearer, and that’s why I’m taking them as a more appropriate comparison to EA1000 here.

Midbass elevation is similar between Miyabi Mk-II and EA1000, but EA1000 have a cleaner timbre, better punch and sound more resolving there. In a nutshell, bass is technically better on EA1000, very possibly due to their Passive Radiator thing.

Miyabi Mk-II’s mids are way more bodied, and obviously more organic. Trebles are overall better on Miyabi Mk-II, less upfront but more refined. Opposite to bass, while good on EA1000 treble is, that is better on Miyabi, likely consequece of the fantastic deeds of Watanabe-sama’s VST driver,

Miyabi Mk-II cast a slightly narrower stage, same height, but way better depth. They require a bit more power than EA1000 but the difference is not big on this.

Ikko OH1S (€ 150)

The two offer very similar timbre, and similar general tonality. Bass is less forward and less punchy on OH1S (almost ruler-flat, indeed), which also contributes to their mids be felt as less recessed, more “meaningful”, and I’m talking about both low and middle mids.

Trebles are more energetic on EA1000, which is an advantage at times, but a disadvantage when this pairs negatively with some tracks or musical genres. Separation is similar on the two models, layering is a bit better on EA1000 due to better microdynamics. Stage is narrower on OH1S, but deeper.

Final A5000 (€ 299)

A5000’s presentation is more markedly V-shaped compared to EA1000’s. Both offer a dry timbre with little concession to warmth, with A5000 being by a whiff the coldest of the two.

Bass are a tie game, both models offering very significant quality in the region. Mids are also similar, in this case meaning both models choose to let them in second-layer position, accepting sub-organic leanness. Trebles are better on EA1000, with A5000 too often scanting into excess and sibilance, and delivering less air.

Technicalities – all of them – are in favour of A5000, sometimes vastly too. Stage is wider and deeper on A5000, just a bit less high. Layering and separation is macroscopically better on A5000. Ditto for detail retrieval, which is “sensational” on A5000.

Considerations & conclusions

Simgot hit a strike with EA1000, there’s very little doubt about this. Their nice timbre and even more their greatly calibrated tonality are of absolute value. Technicalities are also extremely good, with a particular mention deserved by layering and microdynamics. Their less shiny aspects are in the end very few in comparison.

As you may or may not know I’m quite selective, and that’s why I’m pleased to state that EA1000 fall amongst the very IEMs I find recommendable around the €200 mark. For that, I’m double thankful to Simgot for the review opportunity I’ve been offered.

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Cons — Truthear Zero Red have fingerprint-magnet shells
– Not the most dynamic or exciting presentation
– Could be more resolving in the treble region

INTRODUCTION

The Truthear X Crinacle Zero: Red (that’s one mouthful of a name) were announced back in May 2023, during the High End Munich show. While there are copious hints of irony in announcing a pair of budget IEMs in a show literally called “High End”, there was no shortage of hype even before that.

Crinacle’s original vision was to tune the Red closer to his own “ideal” target curve, and apart from a welcome dosage of extra bass, they do hit that mark. The Zero Red also “fix” some of the issues and criticisms that the Harman target has been subjected to in the yesteryear (including the criticisms from the tuner, Crinacle, himself).

I reviewed the original Zero (Zero: Blue?) more than a year ago and found them somewhat uninspiring. Given that they were tuned after the (purportedly flawed) Harman target, the Zero Red should be a logical upgrade as they address the issues of said target. Moreover, the Red act as a showcase of Crinacle’s ideal target and should be an accessible entry to the tuner/reviewer’s preferred tuning.

But that was nine months ago. Now in February 2024, there is a lot less smoke and the influencer-induced hype machine has long run out of fuel. Time to see if the Zero Red have managed to survive the test of… time.

A benchmark pair of IEMs should, after all.

Note: the ratings given will be subjective to the price tier. Shenzhenaudio was kind enough to send the Zero Red for evaluation.

Sources used: Questyle CMA 12 Master
Price, while reviewed: $55. Can be bought from Shenzhenaudio.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

Decent stock cable – check. Half-decent stock eartips – check. PU leather carrying pouch that offers minimal protection – check.

Cringe waifu on the packaging – check. Oh wait.

Nonetheless, the stock accessories are the same as the OG Zero other than the 10ohm impedance adapter that’s now included in the box. It’s a pretty rare thing and I welcome the addition.

This adapter should increase the sub-bass by a few dBs due to the way the crossover is designed. You can further increase the sub-bass with higher impedance adapters but the driver would probably bottom out at that point.

BUILD QUALITY

These are basically the Truthear Zero with a red faceplate. I have to say that the red faceplate looks better than the blue one of the predecessors. Another change is the size of the vent which is now larger than the original version and should allow for greater airflow.

The 2-pin connector is recessed, thankfully. The crossover circuit can also be seen near the connectors through the translucent shell.

While the build is generally good, the shells are smudge prone and slippery. So keep a cleaning cloth handy.

COMFORT, ISOLATION, AND FIT

Fit and comfort is excellent, so is the isolation.

SOURCE AND EARTIPS

The Zero Red are fairly easy to drive, though the addition of inline impedance (via the supplied adapter) will need more voltage from the source side. Even then, it’s not a big deal and should be handled by most dongles in the market.

The stock eartips are good enough to get you going though I am not a fan of the somewhat stiff stem. Third party tips offer even better seal and comfort but the sound signature did not change much.

DRIVER SETUP

The dual dynamic driver setup of the first version of Zero makes a reappearance with subtle improvements.

The distortion figures of the 10mm bass driver are better, which is a much needed upgrade. The 7.8mm midrange and treble driver seems to be unchanged from the first version.

ZERO RED TONALITY AND TECHNICALITIES

If I had to describe the Zero Red’s tuning in one word, it would be: safe. Balanced would be another descriptor, even though the muted treble can throw off said “balance”.

Crinacle decided to go for a less dramatic bass shelf, while adding a touch of warmth to the lower-mids by starting the bass rise from 300 Hz downward. As a result, the transition between the upper-bass and lower-midrange is not as drastic as the OG Zero and sounds far more coherent. If you want more bass, there is always the impedance adapter. However, I did not like the extra bass as it cast a haze over the lower-mids.

The midrange itself is ruler-flat until 1 kHz and then goes for a pinna gain for approximately 8dB. This tuning choice strikes a good balance between male and female vocals. Other than baritone vocals, everything sounded correct.

Strings have good heft without sounding too dampened, grand pianos show their characteristic down-stroke “thock”, and distortion guitars are brought forward without becoming overbearing. However, such safe can often verge towards “boring” for some. I did not find it to be the case, but if you are into super-forward female vocals, the Zero Red might be tad laid-back.

Finally, the treble is somewhat muted and there is a noticeable lack of response around 10kHz. This kills off the sparkle and airiness, but on the plus side you avoid fatigue and distortion. My assumption is that the treble driver is not adept at handling high frequencies (ironic, given it’s supposed to do exactly that), but given the budget pricing I’m willing to cut some slack here.

Soundstage and imaging are about average, in the context of IEMs in this range of course. Certain peers offer a wider sense of stage or more precise imaging, but the Zero Red won’t sound claustrophobic. Rather it’s not the most accurate in placing instruments at ordinal orientations. Macrodynamic punch is pretty good but microdynamics are lacking, with subtle shifts in volume levels being imperceptible at times.

SELECT COMPARISONS

vs TruthEar Zero

The OG Zero and the Zero Red are primarily differentiated by their tuning choices. The predecessor had a more drastic sub-bass shelf that practically hollowed out the mid-bass and somewhat butchered male vocals. In that aspect, the Zero Red are wholesale improvements. The bass driver is also better on the newer version, resulting in better texture in the bass region.

Frankly, for the improvements in the bass and mids alone, I would consider the previous Zero “outdated” vs the newest revision. The mids of the OG just sounded unnatural to my ears and the Red fixes that one big “con”.

vs Final E3000

The Final E3000 have long been a mainstay in our Wall of Excellence as the IEMs to get around USD$50. The fixed cable is a huge con, however, so the Zero Red is already a step ahead in terms of build quality. Comfort and isolation go in E3000’s direction due to their seamless, bullet-style fit and exceptional passive noise cancellation.

When it comes to the sound, these IEMs take different routes in order to achieve a “fatigue-free” tuning. Final E3000 go for more pronounced mid-bass and rolls off at the sub-bass past 40kHz. The pinna gain is even more reserved, while there is more response in the treble region, albeit upper-treble is similarly rolled-off.

The Zero Red have superior midrange clarity and sub-bass rumble, at the cost of mid-bass body (snare hits are more satisfying on the E3000) and less sense of stage-width and depth (can be attributed to the more reserved upper-mids on the Final IEMs). Imaging is also better on the E3000.

Do the Zero Red replace the E3000 for me, then? Not really. I still prefer the timbre on the E3000, and the more spacious presentation is more engaging to my ears. The Zero Red is more of a sidegrade – swapping spaciousness for a more forward midrange. If the treble on the Zero Red had more sparkle I would probably be swayed in the other direction, but that’s not the case, not yet.

CONCLUDING REMARKS

The raison d’etre for the Zero Red is to improve upon their predecessors, while establishing themselves as the new “budget benchmark”. They clear the first hurdle pretty easily (not that it was too high a bar). It’s the second part where things get tricky.

There is a new “budget benchmark” every week now, and the technical inferiority of the Zero Red keep them from fetching that particular crown. For me, the Zero Red are more of a showcase of what Crinacle’s ideal tuning is about, and I look forward to his upcoming releases where he will get to use better drivers to achieve a similar target, perhaps with superior treble sparkle and extension.

To wrap up this review with a familiar “ranking” methodology:
Tone Grade: A
Technical Grade: C
Overall Grade: B
Value: 1 star

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DISCLAIMER

Get it from Shenzhenaudio

Our generic standard disclaimer.

PHOTOGRAPHY

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

The post Truthear X Crinacle Zero Red Review – New Benchmark Or Another Rehash? appeared first on Music For The Masses.

INTRO

The Oladance OWS Sports represents a new category of earphones we have reviewed in the past called Open Wearable Stereo. The OWS concept was first pioneered by the former Bose Team and inspired by the need for user safety and awareness, Oladance OWS Sports adds another product to their lineup of well received products such as the OWS Pro. My fellow co-bloggers had high praises and recommended I try them out since it is a different concept and one that is executed in a most excellent way.

I found them so curiously odd and different that I shared them with friends and everyone over the holidays. Priced at $179 they are a unicorn in a field of crowded options.

BACKGROUND

Oladance is a nod to Leonard Euler, the love of mathematics and invention to achieve something wonderfully new that allows us to enjoy sound while moving throughout the world.

They are quick to point out these are NOT bone conduction (more on that later) and can help those who do not enjoy wearing other types of headphones either for medical reasons and or physical reasons.

In engineering, projects or products should solve a need. The Oladance OWS Sports aims to allow people to enjoy music while staying active, yet be aware of their surroundings and not damage their hearing or nerve endings.

Bone conduction aims to solve this problem, but can also introduce new problems. At the very least avoiding bone conduction can reduce the pressure on the temple and comfort can be improved. There are some claims that long term bone conduction usage can damage nerve endings of which I can neither confirm nor deny. The hearing aid industry would probably be a better source for this information, but the Oladance OWS Sports removes this possibly by using Air Conduction instead.

There is a haptic feel while holding them from the oversized 23mm dual drivers, but since they do not make contact it is mostly the result of the large divers trying to deliver the required output to your ears.

With careful tuning and directing sound towards your ear openings without blocking them, it is like someone whispering in your ear in a clear manner. Due to the fact they are not completely sealed to your ear canal, there is some loss of low end bass similar to PA speakers not covering the bottom end or another closer analogy would be a soundbar for your TV or a small set of 3” bookshelf speakers. It covers the midrange and lower midbass, but the treble and sub-bass are present in lower quantities and not as detailed as in ears.

The Oladance OWS Sports can be used in a wide range of activities although primarily geared to walking, running, and cycling. I found them useful while cleaning out my storage room late at night. They did not fall off while moving around, did not bother my family members and were extremely comfortable. I wear glasses and had no issues with interference from my glasses either. 

I also have a co-worker that primarily uses bone conduction so he still has awareness while working. These would also work excellent in this situation, especially in cases where normal earphones are not allowed. After using them for hours, my ears did not feel fatigued or tired from listening.

Oladance did a phenomenal job of creating a set of earphones with balance and comfort, there are no sharp edges, they are lightweight and the soft materials are very skin friendly. The wrap around strap can be used to quickly hang them off your neck for further attention when needed.

The Oladance OWS Sports are also IPX8 water resistant which means workouts and light rain can be tolerated. IPX8 is supposed to mean it can withstand water immersion of at least 1m/3ft, but time-frame and depth is up to the manufacturer. In this case Oladance states 10 seconds of direct rinsing of the speaker port should not cause damage. Oladance is quick to point out these are NOT for swimming.

For medical purposes, the Oladance brought awareness to me about two key things: Nerve Damage and Vertigo. I had never considered bone conduction can cause nerve damage, and although I have an extended family member that suffers vertigo, I had not realized wearing headphones could cause them trouble. The Oladance OWS Sports offers a solution for those unable to enjoy portable sound.

Personally, I enjoyed the Oladance OWS Sports outside while walking the dog. I can hear vehicles approaching with ease, and also a windy day was a good test. Normal in-ear or even earbuds introduce edges for the wind to catch and then since they are touching inner parts of your ear they tend to amplify the wind noise in unnatural ways.

The Oladance OWS Sports on the other hand with its rounded form factor and floating design combined with noise reduction technology handled it with no sweat. Everything was clear and there was no additional amplification of the wind noise. Bravo.

With the open wearable aspect of the Oladance OWS Sports, it solves the sweaty ears problem of over ears, and the ear insertion and pressure of in-ear, and the falling out problem of earbuds with the wrap around strap. On-ears can be uncomfortable due to extra pressure on the ears, and foam pads get yucky after many uses.

It trumps all categories in terms of situational awareness, even for the noise canceling types that offer transparent modes that sound unnatural. It will not replace noise canceling obviously for that use case, that is not what they were designed for.

ADDITIONAL FEATURES

Oladance OWS Sports offers multi-point device connections. That means you can have it connected to a music device or your computer for work and a phone at the same time. This comes in handy also for people who might have to carry around two phones, one for work and one for personal use. Switching back and forth was seamless.

EQ presets are Default (best sound), Surging Bass (muffled muted mids and treble), Pure Voice (focus on midrange lo-fi experience), Custom offering access to 5 equalizer bands (160Hz, 440hz, 800Hz, 2.7khz, and 8khz)

Default Button Controls (The Oladance App allows customization)

Battery life is advertised at 15 hours and while I did not keep track of how long before needing a charge, I did not have to charge amongst the on and off nature of testing the last month. It should provide increased battery life over bone conduction since those have to excite the body to make sound, they are rather in-efficient. 

The rather large hard case is flocked with felt/cotton that appears to be water resistant, even the zipper is covered by rubber when zipped. It was easy to use when placing the headphones and cable into it, however my wife was quick to point out it would never fit in her cross-body bag. It is clearly meant to fit into a backpack, work bag, or gym bag. Even medium sized purses would be an issue. It is about half the size of an over-the-ears type case.

While the charging cable utilizes an easy magnetic connection,  I am a little disappointed it does not offer a standard USB-C cable. I can see both sides to this argument however. A USB connection adds bulk to the earphone and may be harder to protect against water intrusion.

The Oladance OWS Sports solution makes the connection shallow and quick. I should point out that the case does not offer wireless charging either, and there is no included charging power supply.

SOUND

So I slapped these on the year end gear list because they offer a unique solution and sound good while doing it. Bass is limited but has a full warm sound, punch is soft due to limited extension and sub-bass is not really present. Treble is soft and yet clear. I liken it to full range speaker treble in that it reproduces the spectrum of sound but ultimate articulation is slightly lost due to the transmission distance from the output to the ear.

Cymbals are extremely smoothed while woodwinds and brass have an environmental airiness given the open nature of the earphones. There is just enough percussion available for Piano sound natural. There is no peakiness or sibilance. Midrange sounds clear and open, rather spacious and wide like listening to speakers in the nearfield up close.

Acoustic guitar has warmth and plucks are easily picked out and defined, but does sound a bit tubby, the best part is that I get a sense of being in a room versus just listening to earphones. It’s such an interesting listening experience that is half nearfield speaker, half open back earphone is the best way to describe it. Depth and width are excellent, the staging presentation is done very well.

WRAPPING UP

Comfort, cannot stand other types of earphones, awareness of surroundings and active lifestyle are all excellent reasons to buy these Oladance OWS Sports. If your focus is on sound quality and full frequency reproduction look elsewhere. The lack of bass would turn off normal users. They are unique and designed purposefully so therefore I can recommend them for specific applications mentioned previously.

Disclaimer: Oladance provided these gratis with only wanting to make sure we understood they were not bone conduction, and the reasons why. Audioreviews extends a thank you for allowing us to experience this new form factor.

SPECIFICATIONS

Contact us!

DISCLAIMER

Get it from Oladance Shop, the kickstarter recently closed.

Our generic standard disclaimer.

About my measurements.

The post Oladance OWS Sports Review – Open Has Never Been More Fun appeared first on Music For The Masses.

The Sennheiser IE 600 are the company’s V-shaped signature iem for the aspiring audio aficionado – and a lower-priced alternative to their IE 900 flagship with a wider appeal.

This analysis is based on >4 months of auditioning. I thank Sennheiser USA for this opportunity.

Introduction

Sennheiser headphones have been my first love in the late 1970s, when I picked up a pair of the legendary HD 414 with their shiny yellow ear pads at a flea market. Through the years, my collection grew, first by the company’s famous M-series earbuds, later by their early earphones that cropped up simultaneously to the iPhone.

While Sennheiser’s headphone have been a standard staple for a long time – their still current HD 25 go back to the late 1980s used for noise isolation on the Concorde ultrasonic airplanes) – and their HD 600 have been a favourite since 1997. The company’s first “worth writing home about” earphones may have appeared around 2015 with the “Momentum In-Ear” model, which were sonically limited by their bassy, overly V-shaped tuning.

Their 2019 Pro series [IE 40, 400, 500 ] was also rather a mixed bag in the eyes of many. Sennheiser were stubbornly holding on to the dynamic driver principle whereas the world was going “hybrid”, that is implementing a combination of several balanced armature drivers with (or without) a dynamic driver as a woofer. These hybrids may achieve a better clarity but also sound less natural and frequently incoherent, as they rely on crossovers.

Sennheiser countered their doubters with their 2021 introduced IE 600 and pricier IE 900, and even an excellent budget model in the IE 200 in 2023.

Specifications Sennheiser IE 600

Physical Things and Usability

The Sennheiser IE 600 shares a lot of physical features with the big IE 900 brother such as shells, drivers, cable type and other accessories. The biggest difference is the shells’ material, the lack of a 2.5 mm cable, and the tuning.

In the box you find:

The precision-milled and anodized aluminium housings follow the company’s IE 900, IE 200 and (discontinued) IE 300 models, shape wise….and therefore comfort wise. Fit and comfort have highest priority for me, and the small earpieces score 10/10.

Unfortunately, all these models have the same silicone eartips which don’t fit my ears at all; I used long-stemmed Azla SednaEarFits (“toilet plungers”) instead, which also produce an excellent isolation.

Two cables are included for single-ended 3. 5mm, and balanced 4.4 mm circuits. They are pretty non-descript in their visual appeal but pragmatic. The MMCX connectors are slightly different from the standard ones, you have to be careful when fitting third-party cables.

Tonality and Technicalities

The Sennheiser IE 600 has a warm-neutral V-shaped signature charactered by a punchy, authoritative low end and an energetic midrange, tuned to please the affluent mainstream listener. You may call it “feel-good tuning”, I’d call it “more-of-the-same” well done. Since I am a big fan of the “flatter tuned” IE 900 and IE 200, I have been struggling with the IE 600 a bit…a luxury problem?

As the human ear hears the whole frequency spectrum in context, the graph deceives the low-end perception a bit: there is lots of sub-bass with superb extension, and lots of mid-bass, which, coupled with the elevated upper midrange, moves the IE 600 into classic V-shaped territory.

Low-end has lots of rumble, lots of extension, and the midbass has a small hump, which results in a bit an exaggeration (“compared to natural”). The bass could be a bit crisper, cleaner, harder, and speedier, and threfore less thick.. I’d call it “pleasing’ but also a bit “perfumed”.

With the Azla eartips in my ear canals, the mid-bass definitely smears a bit into the lower midrange and affects vocals. I occasionally find that a bit “ordinary”, though most listeners may like that. This is very high level criticism.

Nevertheless, the smear affects midrange transparency and clarity but delivers an extra serving of dynamics and pizazz without being overwhelming.

On the upside, vocals are richer in the IE 600 compared to the IE 900, reinforced by the mid-bass influence. Male and female vocals are organic, full, and a bit back, but the mid-bass rounds the corners maybe a bit much. I’d like to hear more midrange clarity and transparency. Even the treble is overshadowed by the bass rumble. Perceived treble extension and treble resolution are just average. Cymbals could be better carved out.

Treble is also a bit subdued with cymbals resolving reasonably well, but way behind the IE 900. I find them a bit tizzy.

Soundstage is average in all dimensions, Resolution is definitely behind the IE 900. Overall, the IE 600’s tonality is somewhat “common”, middle of the road at a luxury level.

Your money is again in the timbre and cohesion, as with so many Sennheiser models. The IE 600 just sound natural and out of one mould. I’d prefer them any day over similarlly priced hybrids.

In comparison, the easier-to-drive IE 900 have a tighter, less thumpy low end and a leaner midrange, which results in a better separation between the two, and also in better midrange resolution and clarity. The IE 900 also have a much superior (perceived) treble extension and resolution, and a much wider soundstage. It appears that Sennheiser have tuned the IE 600 for the mainstream popster and the IE 900 for the purist.

The Sennheiser IE 200 may be technically inferior to the IE 600, but they also have a “flatter” frequency response graph, which I prefer. The final E5000, in comparison, may be a pig to drive, but when they get enough electrical current, they offer fuller voices, more bass, but less treble than the IE 600…and a narrower stage.

To me the IE 600 have one big problem: the existence of the much more exciting IE 900. And the aficionado has the problem of the price difference between them.

Concluding Remarks

Many “influencers” assign the IE 600 Sennheiser’s flagship status [never believe an article with a headline ending on a question mark]. I completely disagree. When listening to more sophisticated music (classical, jazz), the IE 900 are far superior in the accuracy of musical reproduction imho. However, they are also far more expensive.

Hence, the IE 600 are the next best thing. My bias aside, the IE 600 are great earphones that will appeal to mainstream listeners of pop and rock owing to their punchy, V-shaped tonality. They are the logical upgrade of the IE 200, and pretty much unparalleled in their class. Although I personally much prefer the more expensive and expansive IE 900 (excuse the pun), most listeners will not agree with me. In any case was it a treat being able to audition the IE 600 and IE 900.

Until next time…keep on listening!

The post Sennheiser IE 600 Review – Luxury Mainstream appeared first on Music For The Masses.

The Sennheiser IE 900 are a fantastic sounding single-dynamic driver earphones characterized by a neutral-bright, coehesive tonality with a natural timbre an incredible upper extension quality that will please the advanced audiophile for years to come.

The IE 900 are on our Wall of Excellence.

I thank Sennheiser USA for this loaner, which they generously let me use for 4 months. I thank Kazi for the measurements (kazi.squig.link/)

Introduction

I once ended up at the CES show at the Venetian in Las Vegas. This was rather coincidental, and I had been attracted more to the “adult fare” at the same hotel – also coincidentally. Having no tickets for either, I was restricted to the peripheral overflow suites. In one of them played a sophisticated stereo setup…lots of tubes and LEDs, monstrous cables and very large speakers. A huge system. The small crowd was ooh-ing and aah-ing.

Out of the speakers came…choral music by a choir. Very subtle and unspectacular. But it sounded natural and realistic. So much gear, so much investment, for so little result? I was scratching my head…and wrongly so.

What could be better than reproduction as close to the original as possible? We sit in modern concert halls listening to chamber music and symphonies, which never sounds flashier than nature allows. Isn’t that what audiophilia is all about?

I have listened to >$1000 earphones that sounded spectacular but also unrealistic: “perfumed”…and “glassy” to my ears. How good is a resolution beyond natural?

Sennheiser, a company established out of Germany’s ashes in 1945, have always stood for natural sound. My first headphones were the HD 414, today I treasure the HD 600 (introduced in 1997) and the HD 25 (introduced in 1989). Natural sound is obviously never obsolete.

In terms of in-ear monitors, Sennheiser came relatively late out of the starting blocks. They can pride themselves of inventing the earbuds (their famous M-series ), and added their first in-ear monitors parallel to the introduction of the iPhone…which had a very mushy bass.

In terms of technology, the company relies entirely on single-dynamic drivers for reasons of sonic cohesion and minimization of distortion: no BAs, no crossovers used.

Their 2015 Momentum in-ear had a decent V-shaped sound with too much bass and too little vocals for my taste. In 2019, Sennheiser introduced their pro line for musicians, which I analyzed to the hilt. In retrospect, I could only recommend the middle model Sennheiser IE 400 PRO as the best sounding of the lot.

The $350 Sennheiser IE 300, introduced in 2021, was aiming at the “consumer crowd”. At the time, Sennnheiser had experimented more with the sound chamber for improved clarity, which probably was the nucleus of their IE 600 and IE 900 developments, which reached the market in 2021. As a bonbon for the budget conscious, the 2023-introduce $150 Sennheiser IE 200 impress even the most critical listener – and they run circles about the IE 300.

Therefore, if you like the IE 900 (or IE 600) but can’t afford them, get the IE 200.

Specifications Sennheiser IE 900

Physical Things and Usability

I don’t want to be repetitive. You get information on the technical aspect in the above space, on the Sennheiser website, and right here in Alberto’s very thorough IE 900 analysis.

In the box you find:

The precision-milled and anodized aluminium housings follow the company’s IE 200 and (discontinued) IE 300 models, shape wise….and therefore comfort wise. Fit and comfort have highest priority for me, and the small earpieces score 10/10. No need for custom-made shells.

Unfortunately, all these models (and the IE 600 also) have the same silicone eartips which don’t fit my ears at all; I used long-stemmed Azla SednaEarFits (“toilet plungers”) instead, which also produce an excellent isolation. Sennheiser offers custom-made silicone eartips – but in Germany only.

Three cables are included for single-ended 3. 5mm, and balanced (2.5 mm, 4.4 mm) circuits. They are pretty non-descript in their visual appeal but pragmatic. The MMCX connectors are slightly different from the standard ones, you have to be careful when fitting third-party cables.

Tonality and Technicalities

The Sennheiser IE 900’s sonic signature can be characterized as neutral with a tinge of bright, organic, and close to the truth, with realistically rounded corners….meaning, a cello sounds like a cello and a trumpet like a trumpet: the note decay is just right. They excel with complex music (let’s say, by an orchestra) played on naturally amplified instruments (e.g. strings, wind instruments) and are truly is an iem for the purist.

What strikes me first whenever I plug the IE 900 into my ears is the fabulous treble extension and resolution, in a quality I have not experienced in an iem before. I typically don’t care much about treble, but this one is a real treat.

The low end is as it should be imho: nicely enveloping with a VERY deep extension, no mid bass hump, good composition down to the lowest frequencies. Good rumble down there, but not too thick. The bass is impactful and speedy, yet not smearing into the lower midrange. Great separation between them.

Always a good test for bass tightness is Ladi Geisler’s “Knackbass” in early 1960s Bert Kaempfert recordings (marvels of Germany sound engineering). And the IE 900s deliver it as it should be…bass guitars and drums are tight and crisp but without being overwhelming.

Voices are perceived as lean by some in the IE 900, but not to me. Male voices are certainly not fat, also not sharp, but rather realistic, well rounded, nuanced, and three-dimensionally well sculptured. The midrange also comes with great resolution, clarity, and transparency.

Female voices are full and well rounded/articular to my ears, and forward, more forward than in the HD 600 headphones. One of my standards is Stevie Nicks in “Dreams” from the Fleetwood Mac Rumours album.

Treble is one of the IE 900s outstanding features: very well resolving, very accentuated, cymbals come out better on the IE 900 as in all other earphones I have tested. They are in stark contrast to the robotic cymbals in planar-magnetic iems.

Trumpets, strings, electric guitars and pianos in the upper midrange are discreet and unobtrusive, fitting well into the mix.

Soundstage is very wide (“widescreen”) and tall, and somewhat deep, but not s as deep as, let’s say, the Dunu Zen. 3D imaging and microdynamics are excellent, you can really map the musicians on stage in 3D rather accurately.

When it comes to timbre, I cannot think of any Sennheiser headphone or earphone that hasn’t excelled in this respect. The IE 900 deliver music as close to the source as could be. Excellent clarity and transparency contribute to this without the artificial “glassiness” of most BA or hybrid earphones.

Bringing it all together, the IE 900 excel through their cohesion…the whole frequency spectrum is well balanced, nothing it overdone or neglected. Your money goes into realistic natural sonic production: music as is.

In comparison, my beloved Dunu Zen are easier to drive, bassier, therefore also narrower but deeper, stage wise, with a much spicier upper midrange. However their cymbals disappear in a hole compared to the IE 900. The final E5000 are harder to drive, warmer, have fuller male/female vocals, are bassier, but the bass is generally fuzzier (depending on source). They have a narrower stage and lack the IE 900’s treble extension.

The IE 600 are bit harder to drive than the IE 900. They are bassier, punchier, more V-shaped, and therefore more spectacular with a broader mass appeal…but they are also somewhat cruder (particularly in the treble) than the more finely woven and better imaging IE 900. The IE 600 are the exuberant teenager, and the IE 900 the more mature, laid back, older brother.

The Sennheiser IE 200 are harder to drive than the IE 900 with softer notes, a less intimate imags, and without the IE 900’s spectacular treble extension. They are nevertheless overall darn good and produce vocals very well, for example.

Concluding Remarks

The Sennheiser IE 900 are for purists, for listeners who want to enjoy music as close to the truth as possible. They don’t exaggarate and therefore don’t wow on a first listen (apart from the treble), they linger…and keep doing so. The IE 900 are clearly for the advanced listener, who dip deep into rather complex orchestral, vocal, and jazzy music.

The IE 900 may be pricey but they will hold their relevance and therefore value over the years to come. Similar to the HD 600 headphone series before, they are an investment in the future.

Until next time…keep on listening!

The post Sennheiser IE 900 Review (2) – From A Single Mould appeared first on Music For The Masses.

INTRO

Moondrop May has me looking forward to the spring given our latest arctic blast where we dipped colder than Siberia. Moondrop are notorious for challenging how much value you can get from a dynamic driver earphone. The uniqueness of the MOONDROP May is the built-in dac dongle EQ tuning feature strung unfortunately to the Android OS for now, but once adjusted can be carried across devices or applications.

Planar treble and a new Sapphire dynamic driver meld together to create something new from Moondrop Labs in the value realm with great technical abilities and optional electronic tuning in the more serious earphone price category.

DESIGN FEATURES

The Moondrop May only has a USB-C connection built into the solidly thicker than normal silver plated braided cable. Installing the tips was difficult feeling like perhaps the bore size was not matched well to the nozzle diameter, but once on they stay in place so not all a bad thing.

The unboxing experience was easier to open than past offerings and along with the mundane eartips and the detachable USB dongle cable is a premium leather zippered case that looks quite classy, but is bulky in the height dimension. It’s best in a bag or coat pocket, awkward in a pants pocket.

The Moondrop May departs from the shell shape that has been a staple through many models. I actually find the Moondrop May is less finicky for my ear shape and fits better. It is also quite isolating. Inside we have a new wideband Sapphire dynamic to handle up to 8khz where the 6mm annular planar driver takes over upper treble duty.

The USB dongle cable has minimal power drain, I measured only 0.01A or approximately 10mA of current draw. The convenient controls include coarse volume steps so a little change goes a long way, for finer control the DAP/phone may offer better control. 

Play and pause are activated with the center button. There were in some instances a faint ringing tone that lasted about 2-3 seconds could be heard when paused or even as it switched to other songs, probably has to do with the noise filtering of the DAC, the EQ (perhaps they are using convolution or minimum phase filters) or the low pass filter used to abide by Nyquist theory. I have no way to flesh that out and determine what is causing it, other than I can notice it only in the moments of silence (not during song listening).

IOS users could still use it with a camera adapter or a newer device that has USB-C over the lightning connection. Those that manage to connect will have a different experience and not be able to fully utilize the design. Moondrop Link 2.0 is required to select EQ’s being USB-C and there is no 2.0 link app for IOS. 

I am curious as to why there is no official store app. The Moondrop Link 2.0 like the original Link app is not on the Play store. You must allow 3rd party app access with the developer options. Some may view this as a security risk so use at your own peril. Users can create their own tunings and add them to the Moondrop repository by creating an account. Otherwise, you have mostly free range on the app.

It did appear buggy, sometimes my LG G8 would not recognize the device to make changes and I would have to restart the phone, but it was connected since music could be played through it. If I did not get the message to allow Moondrop to access the May, then I knew it would not be recognized. I have no way to tell if it was my phone, or the app.

SOUND

Strangely, the out of the box tuning does not match any of the downloadable target curves. I measured it first before I started playing with any of the EQ settings and was surprised to find that oversight. I am not sure if this was on purpose or accident, but either way a bit concerning.

One question I have is what is it like without DSP? Being that the cable is detachable, I connected another cable just for funsies. Graph below, surprise it matches the out of the box tuning. So to answer the question of how to get a tuning that does not exist in the presets…use a different 0.78 2 pin non-dongle cable. Given the 10dB lower treble pinna gain, this might fit better with eastern style tuning. It is too forward for my preference.

The nice thing about the presets is you can hear the change instantly without actually hitting apply to lock it in. The presets are also different than just straight EQ because it will carry across any app or device you listen to them on. Ranking the presets for my personal tastes were Standard, Basshead, Reference, Harman, No Bass. Reference and No Bass were rather close and sound a bit thin in upper bass, but heavy on upper midrange/low treble gain.

The Harman setting was thunderous and weighty feeling even more so than the Basshead tune and it adds extra treble zing. For classic rock that might be missing some midbass tone and warmth, the Basshead is the way to go, but if you want more treble essence and further thickness go for the Harman. It also increased the upper treble with cymbal shimmer.

Standard has a minor bass lift somewhere between the reference and basshead. I find the Standard and reference pretty close to balanced, but occasionally the reference could feel too thin in the mids. Bass has a tight punch and snap with either of these presets, basshead and Harman adds some slowness and can come off bloated.

Mids and treble sound realistic and never dull, however like most Moondrop products the essence of air is where they pull back the reins. To fully utilize the annular planar driver, the Harman tuning adds more air and shimmer. Overall, there could be some extra contrast but nothing that worries me. The bones or structure is in place, I think the user has to embrace the electronic tunable nature of these and unlock the full potential. Transient response is quick as expected from the planar treble, especially with the smaller driver. 

With some of the reference or no-bass presets it gets overpowering however less so than the Moondrop Starfield 2. Nothing sounds weird or off in the timbre department until you download some of the PEQ downloadable content to mimic the tunings of some of their other models.

The downloadable presets come from Moondrop, plus other users who have created accounts. I yearn for a reset button though, and also wish that by setting the presets it might carry over to the adjustable PEQ section so you could have a starting point, but add or subtract from the preset. 

Regardless of tuning, the Moondrop May never felt too crowded and provided ample instrument separation front to back and side to side. Clarity is good and what is normally found at this price range I find them near on par with the excellent Sennheiser IE200. The standard tuning is also close to what you find on the Sennheiser IE200, but there will be some differences in the midrange. Sennheiser likes to give us a more vocal enhancement that blends with the overall tuning. Jazz and classical fans would be more satisfied with the IE200.

So I mentioned the Sennheiser IE200 is a close competitor and excellent overall, it gets an overwhelming positive stamp of approval from audiophiles, the general population takes issue with the cable and fitment. The Sennheiser is a new benchmark around the $130-150 price range. The Moondrop May is half the price and one of my favorites closer in price is the Truthear Hexa. It’s not going to best the Sennheiser, but recognize it can fill the gap.

With the Hexa you get balanced bass, and equal resolution and clarity, with additional treble presence that is boosted. It sounds more V shaped with less midrange presence. The Hexa fits with modern rock and pop music, where the Moondrop May is trying to straddle the mainstream and yet still appeal to audiophiles with a more proper timbre. The Truthears Hexa also has lower sensitivity and works better with more amplification.

FINALE

Keeping in mind the Moondrop May is a $65 earphone with an attached DSP dongle it ticks off many boxes with caveats. Those being restrictions on connections and devices, app is only available on the Android platform (not even Windows or Mac OS), and has to be side loaded outside the Play store. It has technical abilities that set it apart from the ok entry level offerings, and could easily last a while without getting the itch to upgrade.

Great value too minus the bland eartips, this is a good one to have and safer to recommend over the Starfield 2. Much like the KZ VXS Pro, the built in DSP tuning is something that is carrying over from the powered professional studio monitors, and I think we will star to see more and more of this concept.

Disclaimer: We are grateful for Shenzhenaudio.com for providing the Moondrop May at zero cost and zero affiliate kickbacks for a thorough picking, poking and an occasional wet-willy.

PACKAGE CONTENTS

• May Earphones
• Detachable Cable
• Manual
• Leather Case
• Service Card

MOONDROP MAY SPECIFICATIONS

https://moondroplab.com/en/products/may

Moondrop USB-C Online Interactive DSP DD+Planar Hybrid Dual Drivers
Driver: 10mm Sapphire Plated Diaphragm Dynamic Driver + 6mm Annular Planar Magnetic Driver
Impedance: 30ohm +/-15% @ 1khz
Sensitivity: 120dB/Vrms @ 1khz
THD: <0.05% @ 1kHz
Frequency Response: 7Hz-39Khz
Effective Response: 20Hz-20Khz (IEC60318-4, 3dB)
Cable connection: 0.78-2Pin to USB-C

GRAPHS

• Left vs Right Out of the box (Note this is not one of the presets, but can be achieved with a non-dsp dac cable)
• Tuning Presets
• Out of the Box Tuning Compared to Non-dongle powered cable
• Moondrop May vs Sennheiser IE200 vs Truthears Hexa

Contact us!

DISCLAIMER

Get it from Shenzhenaudio.com

Our generic standard disclaimer.

About my measurements.

The post Moondrop May IEM + Dongle Review – Oops They Did It Again, Digital Delight appeared first on Music For The Masses.

START HERE

KZ AS24 is the crown jewel for KZ with twelve BA’s jammed together like a game of Tetris into the the custom 3D printed acrylic bedazzled shell. The model sheet and past history of KZ models is long and confusing to keep up with. Some models have been incremental successes, others just a blip on the timeline.

I personally think they are more of a fast fashion company. I wouldn’t be surprised to see them popup as an MLM (multi-level marketing) scheme for stay at home bloggers and influencers to invite their friends over for some adult beverages, and a Charcuterie board. 

KZ as of late seems to draw either hate or praise, nothing in between. There were some “internet” scandals that are sort of meh in reference to other more serious issues happening in the world. Luckily for us here at Audioreviews we have no skin in the game, and do not need to take any sides.

DESIGN FEATURES

Drama aside, the KZ AS24 comes in the standard version without switches at $112 and the tunable version with 8 switches at $122 only $10 more. Some of the adjustments are only 1-2dB changes and in the bass region this is a resolution our hearing has trouble detecting 1db changes in low end, but in upper frequencies this is detectable. This is of course unless you goof and briefly set the bass switches opposite each other and spend a few minutes wondering why I was fighting a seal issue. 

So the main set of tuning switches on the KZ AS24 work to alter the bass frequencies, while the auxiliary switches impact the mid-high frequencies, the set provided to me had the switches arranged in different directions so pay attention to witch way is “on”. Overall the general tuning  curve follows the Harman.

I opted to pick the most tricked out tuning because I wanted to know how it sounds giving it all it has, we try hard around here afterall. If you check out the impedance graph below you can see how they add resistance in series with certain drivers to reduce output levels. Low powered smart phones and dongles might struggle when going for less bass and treble tuned modes.

The DLP printed shells of the KZ AS24 can reach a high level of precision allowing KZ to include sound tubes built into the shell. Bravo, as this is attention to detail we do not normally get from KZ let alone the vast majority smorgasbord of earphones. There is however one minor difference in soft sound tubes that can absorb standing waves, and hard tubes that create a tunnel and may exhibit ringing. 

Tapping into their fast fashion concept, the KZ AS24 is adorned with various geometric pyramids housed behind a ceiling of clear plastic. It takes on a broken glass, slash kryptonic cave crystal aesthetic.

The silver plated copper flat cable has low microphonic transmission and inserts cleanly and securely into the reliable 2 pin connection. You get the KZ’s starline eartips that have been a staple since near the beginning, the version included has the long stem and a firmer rebound stiffness. However there have been subtle changes to them and KZ tends to pair the variations to properly match the earphone.

Packed inside the KZ AS24 shell in the form of a cityscape is you guessed it – 12 drivers (24 total between both earpieces). Although, when these companies are boasting about driver count you have to realize they are doubling, tripling or even quadrupling up on certain drivers to reach desired output levels while bringing overall distortion levels down. Specifically on the KZ AS24 we have:

• 1 bass driver
• 2 mid/treble wideband drivers with a new trident reed vs the standard U reed design.
• 4 mid treble (consisting of a dual balanced armature)
• 1 tweeter driver

So with all these different drivers, the KZ AS24 allows the user to flip the switches and achieve different results. The descriptions of what each do are semi vague so it helped to makes changes and perform some measurements shown below. Here are some short descriptions of the effects.

• Main tuner switch 1 adds 2db across full range, I measure closer to 4-6db depending on frequency
• Main tuner switches 2/3/4 adds 1db per switch to bass
• Main Tuner switches 1+2+3+4 adds 10db to bass and 4-6db through rest of spectrum gradually decreasing up high
• Aux tuner switches 1/2 adds 1db per switch for the range mid-high 600Hz -6kHz
• Aux tuner switches 3/4 adds 1db per switch above 6.5khz

All the details of these features point to improved control and sound-shaping unlike most KZ recipes, but there is always room for improvement such as actual resistive filters and more costly/labor intensive flexible standing wave absorption sound tubes.

COMFORT / ISOLATION

The shell is stout and bulked up with a confident stance in my ears as if to make it point to feel so sturdy even given the plastic shell. They are large and in charge so small eared folks should look elsewhere. I attempted to give away some other KZ products this weekend only to realize even the smaller models may be too big for young ears. 

Most importantly, the deep nozzle of the KZ AS24 with the fairly sturdy starline eartips managed to take hold of my ear canal keeping them in place. Even with the fact they are floating above my Concha/ Antitragus ridges, they take root. Fitment is often overlooked, but I find this is a main driver to me adopting them in the listening rotation or getting shelved. If I cannot keep them in my ears, I get annoyed and no longer want to listen.

SOUND

Tested with LG G8, Colorfly CDA-M1P, and SMSL DO400.

KZ AS24 bass has what I consider the KZ house sound, snappy with some punch followed up with a modest sub bass filler. It lacks the tight rumble of the Kefine Klanar, so if over-pressurization is an annoyance, the AS24 will have your back. Sub-bass holds back, but is present in the group of friends, taking on the role of designated driver over its more boisterous and outgoing frequency band of brothers.

Midrange pinna boost does reach the forward level but clarity is quite good and this is where I can tell the focus was in creating such a monster. Voodoo Child by Kenny Wayne Shepherd is quite intense, and on overdrive through his guitar riffs. It is very overpowering especially given the soft tail ends of the spectrum reproduced only by one driver each.

Clarity is good however resolution is still not where I would like it. It feels slightly claustrophobic, not giving enough room to separate everything out individually. If it had more depth, the width might also feel wider.

Treble teeters in the fray and is allowed to speak with extra sheen. It’s not offensive at all, but feels muted and overdamped affecting timbre. I think KZ has overdone the treble output in the past, so they were rather careful here not to completely blow it out. Cymbals sound like they are being hit with spaghetti sticks rather than wood sticks. I could use some more shimmer. 

Bringing back in the Kefine Klanar to take on the equally priced KZ AS24 seems like a no brainer. It is easy to forget the plethora of good options in the $100 category where we are just dipping toes into the value mid-tier. Midbass is fuller and gives rock more grunt on the Klanar, the AS24 sounds thinner and more  sculpted. Midrange is not as forward on the Kefine and allows me to enjoy Tool’s Forty Six & 2 without a front row assault. Cymbals sound more realistic with good decay and quantity.

The Kefine Klanar sounds more wholesome while the KZ AS24 presents the music as individual parts glued together. There is more contrast in the AS24 presentation that can become tiring with the treble switches set to max. I had to turn all those off and it became slightly warmer in the presentation. This is the problem with trying to evaluate these more complicated tuning solutions. It is a bonus and a curse at times.

Where KZ AS24 does score over the Kefine Klanar is in fiitment. While bulkier, it clearly stays put and seals correctly. The Kefine Klanar is more finicky in this regard and requires delicate positioning and better than stock tips perhaps to reach fitment nirvana. They may be others who appreciate a less bulky earphone but the overshapes are still equivalent.

WRAPPING UP

I am impressed with the overall package and design of the KZ AS24, it seems they did more than slap as many drivers as they could fit in the shell and made a careful decision on how to tune it. The forward nature does wear on me, and as mentioned earlier I feel claustrophobic. Clarity is great however resolution is modest. Tuning is textbook Harman without any major deviations.

Switches can make an earphone feel more like a prototype than a feature, however it offers more than just acoustic tuning via easy to lose nozzle tuning filters. The AS24 without the switches is available for those who want certainty. The AS24 is one of KZ’s better accomplishments in a highly competitive value entrance to the mid-tier. I don’t hate it, it’s got a good pedigree and I forget at times I am listening to a KZ.

Disclaimer: I appreciate KZ Acoustics sending these by mistake to me instead of Jurgen and given my busy tail end of the year, the AS24 fittingly slip into the 2024 new year. Available for purchase from Aliexpress or other shops.

KZ AS24 SPECIFICATIONS

https://kz-audio.com/kz-as24.html

KZ AS24 Frequency 20-40000Hz
Sensitivity Standard Version 112±3dB
Tuning Version 109±5dB
Impedance Standard Version 20Ω
Tuning Version 20Ω~50Ω
Plug type 3.5mm
Pin type 0.75mm
Cable type Silver-plated cable
Cable length 120±5cm

KZ AS24 TUNABLE GRAPHS

• Left vs Right
• Main switch Tuning
• Auxiliary Switch Tuning
• Other Combinations
• Impedance

Contact us!

DISCLAIMER

Our generic standard disclaimer.

About my measurements.

The post KZ AS24 (Tunable Version) Review – Earphone Tetris A Winning Game? appeared first on Music For The Masses.

Die Sennheiser IE 900 sind ein fantastisch klingender, dynamischer Kopfhörer, der sich durch eine neutral-helle, zusammenhängende Tonalität mit einem natürlichen Timbre und einer unglaublichen oberen Erweiterungsqualität auszeichnet, die dem erfahrenen Audiophilen für die kommenden Jahre gefallen wird.

Die IE 900 hängen an unserer Wall of Excellence.

Ich danke Sennheiser USA für dieses Leihgerät, das sie mir großzügig für 4 Monate gebent haben. Ich danke Kazi für die Messungen.

Einführung

Ich bin einmal bei der CES-Show im Venetian in Las Vegas gelandet. Das war ziemlich zufällig, und ich war mehr von der “Erwachsenenkost” im selben Hotel angezogen worden – auch zufällig. Da ich auch keine Tickets hatte, war ich auf die peripheren Überlauf-Suiten beschränkt. In einem von ihnen spielte ein ausgeklügeltes Stereo-Setup… viele Röhren und LEDs, monströse Kabel und sehr große Lautsprecher. Ein riesiges System. Die kleine Menge war ooh-ing und aah-ing.

Aus den Lautsprechern kam… Chormusik von einem Chor. Sehr subtil und unspektakulär. Aber es klang natürlich und realistisch. So viel Ausrüstung, so viel Investition, für so wenig Ergebnis? Ich habe mich am Kopf gekratzt… und das zu Unrecht.

Was könnte besser sein, als die Reproduktion so nah wie möglich am Original zu sein? Wir sitzen in modernen Konzertsälen und hören Kammermusik und Symphonien, die nie auffälliger klingen, als es die Natur erlaubt. Ist es nicht das, worum es bei Audiophilie geht?

Ich habe mir >1000-Dollar-Kopfhörer angehört, die spektakulär, aber auch unrealistisch klangen: parfümiert… und “glasig” in meinen Ohren. Wie gut ist eine Auflösung jenseits der Natürlichen?

Sennheiser, ein 1945 aus der Asche Deutschlands gegründetes Unternehmen, hat sich schon immer für natürlichen Klang eingesetzt. Meine ersten Kopfhörer waren die HD 414, heute schätze ich die HD 600 (eingeführt 1997) und die HD 25 (eingeführt 1988/89?). Natürlicher Klang ist offensichtlich nie veraltet.

In Bezug auf In-Ear-Monitore kam Sennheiser relativ spät aus den Startblöcken. Sie können stolz darauf sein, die Ohrhörer (ihre berühmte M-Serie) zu erfinden, und fügten ihre ersten In-Ear-Monitore parallel zur Einführung des iPhone hinzu… das einen sehr matschigen Bass hatte.

Ihr 2015 Momentum In-Ear hatte einen anständigen V-förmigen Sound mit zu viel Bass und zu wenig Gesang für meinen Geschmack. Im Jahr 2019 stellte Sennheiser seine Pro-Linie für Musiker vor, die ich bis zum Anschlag analysiert habe. Im Nachhinein konnte ich das mittlere Modell Sennheiser IE 400 PRO nur als den besten Klang der Menge empfehlen.

Der 350-Dollar- Sennheiser IE 300, der 2021 eingeführt wurde, zielte auf die “Verbrauchermenge” ab. Zu der Zeit hatte Sennnheiser mehr mit der Schallkammer für eine verbesserte Klarheit experimentiert, die wahrscheinlich der Kern ihrer Entwicklungen IE 600 und IE 900 war, die 2021 auf den Markt kamen. 

Als Bonbon für die budgetbewusste beeindruckt der 2023 eingeführte 150 $ Sennheiser IE 200 selbst den kritischsten Zuhörer – und sie führen Kreise über den IE 300.

Wenn Sie also die IE 900 (oder IE 600) mögen, sie sich aber nicht leisten können, holen Sie sich die IE 200.

Physische Dinge und Benutzerfreundlichkeit

Ich möchte mich nicht wiederholen. Informationen zum technischen Aspekt erhalten Sie im obigen Bereich, auf der Sennheiser-Website und genau hier in Albertos sehr gründlicher IE 900-Analyse.

In der Box finden Sie:

Die präzisionsgefrästen und eloxierten Aluminiumgehäuse folgen den Modellen IE 200 und (abgesetzt) IE 300 des Unternehmens, formtechnisch … und damit komfortmäßig. Passform und Komfort haben für mich höchste Priorität, und die kleinen Ohrhörer punkten 10/10. Keine Notwendigkeit für maßgeschneiderte Muscheln.

Leider haben alle diese Modelle (und auch der IE 600) die gleichen Silikon-Ohrstöpsel, die überhaupt nicht zu meinen Ohren passen; ich habe stattdessen langgestiemte Azla SednaEarFits (“Toilettenkolben”) verwendet, die auch eine ausgezeichnete Isolierung erzeugen. Sennheiser bietet maßgeschneiderte Silikon-Ohrstöpsel an – aber nur in Deutschland.

Drei Kabel sind für einzelnde 3,5 mm und ausgeglichene (2,5 mm, 4,4 mm) Schaltkreise enthalten. Sie sind ziemlich unscheinbar in ihrer visuellen Anziehungskraft, aber pragmatisch. Die MMCX-Anschlüsse unterscheiden sich geringfügig von den Standardanschlüssen, Sie müssen beim Anbringen von Kabeln von Drittanbietern vorsichtig sein.

Tonalität und technische Details

Die Klangsignatur des Sennheiser IE 900 kann als neutral mit einem Hint von hell, organisch und nah an der Wahrheit charakterisiert werden, mit realistisch abgerundeten Ecken….das bedeutet, ein Cello klingt wie ein Cello und eine Trompete wie eine Trompete: Der Notenausklang ist genau richtig. Sie zeichnen sich durch komplexe Musik (sagen wir, von einem Orchester) aus, die auf natürlich verstärkten Instrumenten (z.B. Streicher, Blasinstrumente) gespielt wird, und sind wirklich ein Iem für die Puristen.

Was mir zuerst auffällt, wenn ich den IE 900 in meine Ohren stecke, ist die fabelhafte Hocherweiterung und Auflösung, in einer Qualität, die ich noch nie in einem Iem erlebt habe. Normalerweise kümmere ich mich nicht viel um die Dress, aber dieser ist ein echter Leckerbissen.

Das niedrige Ende ist so, wie es sein sollte: schön umhüllend mit einer SEHR tiefen Verlängerung, kein Mittelbass-Humpfel, gute Komposition bis hin zu den niedrigsten Frequenzen. Gutes Rumpeln da unten, aber nicht zu dick. Der Bass ist wirkungsvoll und schnell, schmiert sich aber nicht in die untere Mitte. Große Trennung zwischen ihnen.

Immer ein guter Test für die Bassdichtheit ist Ladi Geislers “Knackbass” in den frühen 1960er Jahren Bert Kaempfert Aufnahmen (Wunder von Deutschland Sound Engineering). Und die IE 900s liefern es so, wie es sein sollte… Bassgitarren und Schlagzeug sind eng und knackig, aber ohne überwältigend zu sein.

Stimmen werden von einigen im IE 900 als schlank wahrgenommen, aber nicht für mich. Männliche Stimmen sind sicherlich nicht fett, auch nicht scharf, sondern eher realistisch, gut abgerundet, nuanciert und dreidimensional gut skulpturiert. Der Mittelklasse kommt auch mit großer Auflösung, Klarheit und Transparenz.

Weibliche Stimmen sind voll und gut abgerundet/artikulal zu meinen Ohren und nach vorne, mehr nach vorne als in den HD 600-Kopfhörern. Einer meiner Standards ist Stevie Nicks in “Dreams” aus dem Fleetwood Mac Rumours Album.

Treble ist eine der herausragenden Funktionen der IE 900: sehr gut lösende, sehr akzentuierte Becken kommen auf dem IE 900 besser heraus wie bei allen anderen Kopfhörern, die ich getestet habe. Sie stehen in krassem Gegensatz zu den Roboterbecken in planar-magnetischen Iems.

Trompeten, Streicher, E-Gitarren und Klaviere in der oberen Mitte sind diskret und unaufdringlich und passen gut in den Mix.

Die Klangbühne ist sehr breit (“Widescreen”) und groß und etwas tief, aber nicht so tief wie, sagen wir, das Dunu Zen. 3D-Bildgebung und Mikrodynamik sind ausgezeichnet, man kann die Musiker auf der Bühne wirklich ziemlich genau in 3D abbilden.

Wenn es um das Timbre geht, kann ich mir keinen Sennheiser-Kopfhörer oder -Kopfhörer vorstellen, der sich in dieser Hinsicht nicht ausgezeichnet hat. Der IE 900 liefert Musik so nah an der Quelle, wie sie sein könnte. Ausgezeichnete Klarheit und Transparenz tragen dazu bei, ohne die künstliche “Glasigkeit” der meisten BA- oder Hybrid-Ohrhörer.

Wenn man alles zusammenbringt, zeichnet sich der IE 900 durch seinen Zusammenhalt aus… das gesamte Frequenzspektrum ist gut ausbalanciert, nichts, was es übertrieben oder vernachlässigt. Ihr Geld fließt in realistische natürliche Klangproduktion: Musik, wie sie ist.

Im Vergleich dazu sind meine geliebten Dunu Zen leichter anzutreiben…mit mehr Bass, daher auch schmaler, aber tiefer, stufenmäßig, mit einem viel schärferen oberen Mittelbereich. Ihre Becken verschwinden jedoch im Vergleich zum IE 900 in einem Loch. Die letzten E5000 sind schwieriger zu fahren, wärmer, haben einen volleren männlichen/weiblichen Gesang, sind Bassiser, aber der Bass ist im Allgemeinen fuzzier (je nach Quelle). Sie haben eine schmalere Stufe und es fehlt die Doppelverlängerung des IE 900.

Der IE 600 lassen sich etwas schwieriger antreiben als der IE 900. Sie sind bassigzer, druckvoller, V-förmiger und daher spektakulärer mit einer breiteren Massenanziehungskraft… aber sie sind auch etwas grober (insbesondere in den Höhen) als die feiner gewebte und bessere Bildgebung IE 900. Der IE 600 ist der überschwängliche Teenager und der IE 900 der reifere, entspanntere, ältere Bruder.

Der Sennheiser IE 200 ist schwieriger zu treiben als der IE 900 mit weicheren Noten, weniger intimen Bildern und ohne die spektakuläre Doppelverlängerung des IE 900. Sie sind dennoch insgesamt verdammt gut und produzieren zum Beispiel den Gesang sehr gut.

Abschließende Bemerkungen

Die Sennheiser IE 900 sind für Puristen, für Zuhörer, die Musik so nah wie möglich an der Wahrheit genießen wollen. Sie übertreiben nicht und begeistern daher nicht beim ersten Hören (abgesont der Doppel), sie verweilen … und tun es weiter. Die IE 900 sind eindeutig für den fortgeschrittenen Zuhörer, der tief in ziemlich komplexe Orchester-, Gesangs- und Jazzmusik eintaucht.

Der IE 900 mag teuer sein, aber er wird seine Relevanz und damit seinen Wert in den kommenden Jahren behalten. Ähnlich wie bei der vorherigen HD 600-Kopfhörerserie sind sie eine Investition in die Zukunft.

Bis zum nächsten Mal…keep on listening!

The post Sennheiser IE 900 Rezension – Aus Einem Guss appeared first on Music For The Masses.

Cons — The Truthear Nova have thin-sounding lower-mids
– Upper-midrange glare in tracks with low sub-bass
– BA timbre
– Microdynamics are not so evident

INTRODUCTION

Truthear has garnered a certain cult following, thanks to a fairly “solid” series of IEMs, albeit all of them in the <USD$100 range. The brand’s latest release, Nova, aim to change the strictly “budget” outlook of the brand. At $150, the Nova are the most expensive product Truthear has released so far.

With higher price comes loftier expectations. Time to see how well the Nova can manage that weight.

Note: the ratings given will be subjective to the price tier. Heartfelt thanks to Shenzhenaudio for sending the Truthear Nova in for evaluation.

Sources used: Cayin RU7, Questyle CMA Twelve Master
Price, while reviewed: $150. Can be bought from Shenzhenaudio.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

Truthear remains true to its “waifu art” packaging. You can even order an acrylic cutout of the “waifu” during the purchase process. Well, I am not the intended audience for this but I guess there is a demand out there for such “perks”.

The packaging is quite large but there is a lot of wasted space for the sake of a more appealing arrangement of the accessories. I mean, one can easily just bundle the tips in small zip-lock bags, but I digress.

Other than the silicone and foam tips, you also get a PU leather carry case that doesn’t offer a lot of protection but looks cool nonetheless. The stock cable has a visually striking black and blue color scheme, but the length is longer than your standard 1.2m cables, resulting in a more cumbersome experience while walking around.

BUILD QUALITY

The Nova have similar glossy, slippery, and fingerprint-attracting black shells as the Truthear Zero. Other than the faceplate design, the overall aesthetics have many similarities with the budget model.

This is somewhat perplexing as I assumed Truthear would go for a more premium build or at least a different finish for the resin shell. Nonetheless, “premium” is not a word I can associate with the Nova’s overall build. It’s serviceable, decent even – but not something noteworthy.

There are three different sound-bores, with each of them channeling sound from separate driver arrays. The 2-pin port is, thankfully, recessed and there are 4 vents on the side to alleviate pressure and also allow the dynamic driver to have additional air to move around.

COMFORT, ISOLATION, AND FIT

Despite the nozzle being on the thicker side, the Nova have very good fit and comfort. Isolation is good with the supplied foam tips, but not class-leading.

SOURCE AND EARTIPS

At a sensitivity of 108 dB/mW into 15 ohms, the Truthear Nova are fairly easy to drive. Do note that the crossover circuit is prone to impedance mismatch, so a source with low output impedance is recommended. For this review, I used stock tips and cable, and the Cayin RU7 dongle.

DRIVER SETUP

The Nova utilize a 1DD + 4BA setup, with the DD being in charge of the sub-bass and the mid-bass, while the BA drivers handle the mids and highs. The BA drivers are dual-BAs, so they occupy less space inside the shells. Each driver has a separate acoustic tube/wave-guide attached to channel the sound into the bores.

Finally, there are dampers placed in the nozzle for attenuating resonant frequencies and aberrant peaks. A fairly competent driver setup and kudos to Truthear for nailing down the basics and then some.

TONALITY AND TECHNICALITIES

The Truthear Nova are Harman-neutral (2019 V2), apart from some subtle deviations. They are perhaps the most “true Harman” IEMs you can get under USD$200, so if you love Harman tuning and religiously abide by it – skip the rest of the review and grab a pair right now.

For those who have their reservations about Harman – there is more to the story than meets the eye.

The tell-tale sub-bass shelf is here to stay, with a sudden rise from about 300Hz downward. Understandably, the upper-mids need to be pushed upward to counter-balance the sub-bass dominance and to ensure that vocals have enough clarity and forwardness.

I strongly believe that a pair of IEMs’ bass response is only as good as the driver allows it to be. With a subpar or under-performing driver, the bass will lack authority, slam, and texture. No amount of EQ shenanigans can compensate for high distortion characteristics. Fortunately, the Nova have a pretty decent dynamic driver for the “woofer”.

Bass has good slam and rumble and doesn’t break up or distort even at higher volumes. Bass texture is lacking, but some of that can be attributed to the mid-bass thinness which is a point of contention about the Harman target itself. Either way, bass is satisfyingly deep and punchy for the most part, and can provide the “macrodynamism” one expects from sudden bass drops, for example.

The lower-mids can come across as “thin” at times, especially if you are accustomed to the sound of certain old speakers, or reference headphones like Sennheiser HD 650. Baritone vocals lack the heft while snare hits can sound anemic, lacking in density.

Upper-mids, meanwhile, take the center stage with female vocals being noticeably more forward than the male vocals. This forwardness can be engaging if there is enough bass in the recording to balance things out. In acoustic tracks with low or no sub-bass , the balance gets skewed towards the upper-midrange instead, resulting in shout and shrillness. if your library rarely consists of such tracks, this should not be an issue. Otherwise, take note.

The treble is quite dark past 7kHz. There is a steep roll-off with not much upper-treble to add air into the mix. Treble can at times exhibit BA timbre, with cymbals and hi-hats lacking the note weight one expects. Due to the lack of airiness, cymbals abruptly stop “ringing” and the decay is unnaturally fast. This also limits the perceived “wideness” of the soundstage, even though the Nova do not sound closed-in.

Imaging is precise, with only ordinal directions being somewhat difficult to pinpoint. Instrument separation is another strong area of the Nova, as even in busy tracks it is easy to figure things out individually.

Microdynamics (subtle shifts in volume) are not so evident on the Truthear Nova, resulting in somewhat of a flat representation of music.

SELECT COMPARISONS

Truthear Nova vs Simgot EM6L

Simgot EM6L are noticeably cheaper than the Truthear Nova and come with a less flashy design and arguably worse accessories. Comfort is similar on both, while isolation is slightly better on the Simgot IEMs. Ironically, both these IEMs share the same driver configuration: 1DD + 4BA, though Simgot utilizes a smaller 8mm dynamic driver compared to the 10mm driver on Nova.

As for the sound, EM6L also closely follow the Harman 2019 V2 with a distinct deviation near the mid-bass where Simgot decided to fill up the “suck-out” around 250Hz. This noticeably improves male vocals and the rendition of percussion instruments. Upper treble is slightly more pronounced on the EM6L compared to the Nova (and Harman IE target), resulting in better perceived airiness, albeit the differences are minimal.

Imaging is about similar on both of these IEMs, though EM6L render microdynamics more convincingly.

In the end, I prefer the EM6L overall, not only because it offers similar performance for significantly less, but also because the tuning “fixes” aligns them closer to my preferences.

CONCLUDING REMARKS

The Truthear Nova are competent IEMs. Tonal preferences aside, there are no glaring flaws in the overall package, be it technicalities or build/accessories. It’s just that the competition is offering the same, if not more, for less. And that’s where things get tricky.

The current IEM market is a race to the bottom: a frenzied hustle to give the customers the “best” for the “least”. Truthear built its reputation based on that very mission statement but competition has not only caught up, rather they’ve turned the whole game on its head by driving prices down further.

So, while the Nova indeed hit their target: a mid-tier Harman-abiding pair of IEMs with decent technicalities, they find themselves late to the party. Unless you are really afraid of mid-bass, there are better options out there. But if it’s Harman you want in its pure, unadulterated form – the Nova will have your back.

MY VERDICT

3.5/5

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DISCLAIMER

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Our generic standard disclaimer.

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

The post Truthear Nova Review – Hitting the Mark appeared first on Music For The Masses.

Introduction

Vision Ears are a boutique company out of Cologne, Germany that offer a plethora of interesting premium earphones. Audioreviews.org authors had the chance of analyzing their products in the past and the Vision Ears Elysium made it onto our Wall of Excellence. The EXT is one of Vision Ears’ many premium models.

As always with premium products, they are short-term loaners that don’t come in retail packaging. I therefore focus on the sonic performance

Specifications Vision Ears EXT

Tonality and Technicalities

Please note that I had the EXT (and PHöNIX) only for 7 days as part of a Head-Fi tour. I feel that was too short for a definitive evaluation of these iems. Hence take my comments with caution – and look at other opinions, too.

The EXT is sonically built on the Elysium, the best iem I have ever heard. The Elysium has a midrange of godly quality and its BA bass was the only criticism. In general, Vision Ears do midrange particularly well.

I recently reviewed the Vision Ears PHöNIX, characterized by its mellow and soothing presentation. The EXT is quite different in that is features a sharper and leaner sound, particularly in the midrange, and a thumpier, punchier, but also tighter bass at the better extended low end. And it is requires a more powerful source than the PHöNIX.

I’d describe the EXT’s signature as close to neutral with a tad of warmth, and an extra serving of bass.

Yes, there is bass, and lots of it. Quite a rumble down there (“es brummt da unten”). Lots of oomph with a realistic decay, but it could still be more composed and tighter. It is not thick but thump. Mid bass is pounding mercilessly against my eardrums. Some love it, others can’t handle it.

The bass smudges into the lower mids, causes some congestion, and masks them to some extent, sadly. To me, the bass is like too much ketchup on the burger, which overwhelms and drowns the taste. A very intense low end.

The midrange is the star of the show. Vocals in the lower midrange are organic, a bit recessed but show good note definition, medium note weight and subtle rounding but also a healthy edge. They are overall more towards the lean side, but in a good way. Very well done, going towards perfection…weren’t they affected by the bass.

Midrange resolution and clarity are very good when little of no bass is present in the music. Even the highest piano notes are lively, well resolving and 100% natural. Just bad that the midrange is competing against the bass – and frequently losing.

Lower treble is rather humble. I find the presentation of cymbals somewhat metallic, tizzy, and dry. Decay could be slower. From memory, the Elysium was close to perfect in the upper registers but the EXT cannot deliver that.

Imaging is good: 3D space is nicely re-created. Layering is also good: the musicians are placed well on stage. Soundstage is not very wide owing to the that rumble in the (low-end) jungle. Dynamics is good.

Concluding Remarks

The VE EXT didn’t blow me out of my sandals like the Elysium that belong to my all time favourites.

Until next time…keep on listening!

The post Vision Ears EXT Review – The Short Answer appeared first on Music For The Masses.

The $130 ddHiFi Janus3 is a Moondrop-tuned single-dynamic-driver earphone with an agreeable Harman sound and an original, small shell design that provides maximum comfort and fit. Adding the compact cable and the good isolation, it is a great companion for travel. Fits in your shirt pocket between flights.

The Janus3 was provided by ddHiFi for my review – and I thank them for that. You can get it from the ddHiFi Official Store.

Introduction

ddHiFi are a company that specializes in accessories such as adapters, cables, and storage cases. But they have also produced a line of earphones called “Janus”, after a Roman god that is often depicted by a double-faced head.

Reason for this name was the unique double connectivity of the two previous models, Janus1 (released in 2020) AND Janus2 (from 2021): both had sockets for 0.78 mm two pin and MMCX plugs. The E2023 Janus3 is therefore the third iteration of this model line.

The dual connector had the advantage that one could connect essentially any earphone cable found in their drawer….which was actually not necessary as each model featured a fancy and rather pricey cable you could also purchase separately. While the Janus1 lacked sub-bass, the Janus2 had an over energetic upper midrange. Both models also came with luxury cases…these accessories drove their price up to $200.

Moondrop helped out with the tuning of the Janus3, which is way more mainstream than that of their predecessors. Also slimming down the accessories helped reducing the price by $70. Interestingly, ddHiFi abandoned the 2-pin connector in the Janus3: you can only connect MMCX cables to this model. Strictly speaking, the Janus ist not a Janus anymore, as one half of its head is missing. But I’m waffling…

Specifications ddHiFi E2023 Janus3

Physical Things and Usability

Although slimmed down, accessory wise compared to its more expensive earlier iterations, you still find quite a few goodies in the box: most of all the gorgeous modular MMCX cable, that comes very close in appearance to the $60 ddHiFi M120 A model.

The wire is OCC (“Ohno Continuous Casting”), manufactured according to a Japanese process that results in essentially oxygen-free copper, which minimizes corrosion. The cable is thin, light, has the right stiffness, and essentially no microphonics. You can choose between a 3.5 mm and a 4.4 mm connector, both are included. There is no memory wire. All this is very handy.

Also in the box are a set of silicone eartips (S/M/L), the largest of which actually work for me. The storage case is not too small and very sturdy, also of good quality.

Finally, the earpieces, not double-faced as in the previous iterations, feature MMCX connectors. They are part metal, part resin, and you can look inside to admire the interior. These earpiece have otherwise not changed in shape: they remain small, light, they seal well, and can be worn over-ear or under-ear.

The Janus3 are easily driven with a phone.

Considering that many earpieces are marketed by their faceplates, which resulted in some monster cherries in our ears, ddHiFi’s pragmatic earpiece design may be one of the Janus’ biggest asset. Together with the light cable, you have a stereo that fits in the smallest pockets and isolates well in the loudest environments.

Tonality and Technicalities

The Janus3 features a classic agreeable, middle-of-the-road sound with a natural timbre and average technicalities without major flaws. In terms of richness, they are more on the lean side but without any stridence, which adds some articulation to the overall sound.

Although the shells are small, the drivers are reasonably large (10 mm, compare to Sennheiser IE900’s/IE 600’s 7 mm), and hence produce some decent heft at the low end. Sub-bass extension is excellent, an annoying midbass hump is missing, and the lower end can develop a good punch and impact…it all depends on insertion depth: deeper means thicker. A satisfying low end that is well layered, well composed, never too thick, and it does not smear into the lower mids either.

Female and male voices are therefore “free standing” and a bit on the lean however nuanced side. Lean does not mean thin, it means articulate and well carved out in this context. Upper midrange is not overenergetic. All this makes for a good midrange transparency: lots of space between notes and musicians.

Treble is subdued in its lower part but quite lively in the upper. This avoids shoutiness but adds (perceived) detail, sparkle, and liveliness to the upper registers such as cymbals. The treble is decently well resolving and articulate.

Soundstage is reasonably expansive and tall, with ok depth, imaging is pretty good. While layering, separation, and spatial cues are also decent (the stage is really well organized in 3D), detail resolution is average. Not bad, but not outstanding either. Timbre, as expected for a dynamic-driver earphone, is very good.

Concluding Remarks

The Janus3 is the sonically much improved version of the 2020/21 Janus1 and 2, with slimmed-down accessories, a better price, and a more cohesive, well-rounded sound. Its biggest assets are its original, imaginative small design with maximum comfort and fit, and its attractive modular cable.

While it does not add anything spectacularly new sonically for the experienced hobbyist, it may have its appeal to the novice and intermediate experienced…and/or to listeners who prefer to carry their stereo in a shirt pocket. Considering their good seal, the Janus3 are well suited for airplane, bus, or train travel. And that’s what I will use them for.

Until next time…keep on listening!

The post ddHiFi E2023 Janus3 Review – Beheaded God appeared first on Music For The Masses.

INTRO

Should you spend the $40 on a pair of CCA Duo, that is why we are here. CCA seems to draw parallels to some unknown competitor (Truthears X Crinacle Red seems to be the rumor) of another dual drive and claims to do it better. I found myself a little duped based on their graphs showing the second driver was for bass coverage. Instead what I find is an unusual tuning for CCA, with a very lean bottom and a bright top much like you might find at a Taylor Swift concert.

SOUND

Since this is a second round review of the CCA Duo after my fellow founder of Audioreviews, no point in rehashing the similarities and instead will focus on differences. The sub-bass is hardly detectable on mine, and actually when I measure them I wonder if the second bass driver is even connected. Not sure this sidekick driver is actually needed. There is a 3db rise from 1khz reference, but given the 10db pinna gain rise at 3khz It gets left behind.

Midrange is forward and has sufficient capabilities to render a spaciousness and is the major redeeming quality of this $30 earphone. The tuning seemed promising towards the upper end except that cymbals sound like two pieces of paper rubbing together, slight exaggeration. I can appreciate the quantity, but not the quality. Overall it does not seem in balance with the bottom end so consider the CCA DUO a neutral bright tonality. Neutrality does not guarantee absence of coloration however.

Specifications CCA Duo

PACKAGE CONTENTS

The shell design is actually 3D printed utilizing individual sound channels, however not to be confused with sound tubes that have some absorption properties given they appear to be part of the plastic 3D printing. CCA boosts about not up-charging for this technological achievement and maybe there is only a slight increase in pricing compared to the shells used from a few years ago where driver output is loosey goosey in the shell cavities.

The design of the CCA Duo shell adopts a 45degree angle to fit snuggly into the ear. Its actually a different design than their normal universal. It most likely follows what is required with two dynamic drivers as apposed to a more compact solution of dynamic balanced armature setups. The crossover can be seen through the shell and looks rather complex for such a simple 2 way. Still somehow I feel there is some smearing occurring that muddles up the treble, unless that is the result of the driver handling treble duties.

OUTRO

We used to get better sounding earphones for less than $20 a few years back, even with the quirks in the case design of the Moondrop Space Travel, your money is better spent on a pair of doorbuster wireless earphones with average ANC than these rather bland dual dynamics. I would also contend the BLON BL-03 with aftermarket tips is still a better buy, or their older CCA Lyra with a tighter fitting shell, a single dynamic for a cheaper price.

The CCA CRA+ follows a similar tuning trajectory with better cohesion, warmer and a simple single driver. The CCA DUO is the more spacious sounding setup so if you want a wide and emphasized soundstage this is probably the standout feature if that is your thing. I am not really sold on the CCA DUO even though the target curve appeases me, the Lyra is more appealing or the CRA+ for those that want the extra treble.

FREQUENCY RESPONSE GRAPH

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DISCLAIMER

Sent to us by KZ for our evaluation. Get it from KZ Store and other retailers like Amazon, Aliexpress, etc.

Our generic standard disclaimer.

About my measurements.

The post CCA DUO Review (2) – Sidekicks Need Not Apply appeared first on Music For The Masses.