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.

Executive Summary

The $55 Maono WM620 is a compact set of two well-built, good-sounding microphones with receiver that can be used for Vlogging, streaming, and Zoom/Teams/Skype telecasting.

Also great for broadcasting music due a special “reverb setting”. Indoor/outdoor use with special noise-cancelling algorithm. Very portable and easily chargeable as all elements are stored in a dedicated charge case not exceeding the size of some TWS cases.

The Maono WM620 was provided unsolicited by the company and I thank them for that. You can get it from maono.com.

Introduction

Lavalier microphones, that is small mics that you attach to your shirt, are widely applied in TV studios for interviewing purposes. At home or in the office, you can use them for Zoom, Microsoft Teams meetings, or (YouTube) live streaming/Vlogging. If you want to do interviews, you need two microphones. And if you want to be mobile during use, your microphones should be wireless.

What we would like to see in such microphones is a small size (to conceal them if required), good sound quality, long battery life, and a long wireless range. The Maono WM620 Lavalier Wireless are…errrm…wireless.

On top of these standard requirements, they offer environmental noise cancelling — that is background noise is being removed…and a reverb mode for musicians and horror movies.

Maono is a high-tech company that produces affordable microphones, audio interfaces, headphones, and other audio accessories. They preferably sell directly to consumers to keep their prices reasonable.

Specifications Maono WM620

Physicals of the WM620

In the box is a charge case with USB-C cable, inside are the receiver and two transmitting microphones with magnetic clip, 2 magnets for attaching, and the manual. The case is barely larger than that of an earphone.

All parts are made of hard polycarbonate and appear reasonably sturdy. The receiver has a USB-C plug for attaching it to Android phones and computers. It also works for iPhone but you need an OTG adapter like this one for (except iPhone 15, which has a USB-C port). The transmitting microphones and the receiver are very small, the whole set is very transportable and therefore well suited for use on the road.

Functionality and Operation

The WM620’s receiver is connected to your recording device and the two microphones are attached to people, either by a (magnetic) clip or by an included magnet. Pairing is easy on the push of a button.

If you don’t like the view of the transmitter on your chest, you can hide it in a pocket or behind your shirt/blouse/jacket and hardwire a small external lavalier mic to it (not included)…which bypasses the two mics but reduces your recording microphones from 2 to 1. The receiver hosts a 3.5 mm headphone socket for real-time monitoring.

The microphones feature a 2-step environmental noise reduction to minimize the ambient background sounds, and a 4-level gain. They also have a reverb button for musical productions and a mute button.

The microphones and the receiver have a range of status LEDs on their tops.

Each transmitting microphone features its own USB-C port for charging, although they are all being automatically charged in the storage case. The receiver does no have a battery but draws power from the host device. You can use the set while charging your phone through the receiver’s USB-C port.

The mics work for 6 hours and can be recharged twice in the recharge case, which totals 18 hours of use. You need a 5 V USB charger (not included) for charging the case.

The maximum transmission distance is given with 100 m.

Sound Quality

The most import feature of this microphone set is its sound quality. Check it out here:

I used the maximum gain on both mics. The radio was playing very quietly. Pretty good sound to my ears. The reverb function is a bit of a gimmick but the environmental noise cancellation works very well. What’s really great…and I am repeating myself, is the compact size of the whole set…everything fits in a handy charge case.

Concluding Remarks

The Maono WM620 is a great microphone set that ticks the following boxes: it is small, light, and works well. And the price is right, too.

Until next time…keep on listening!

Disclaimer

The WM620 was provided unsolicited by Maono and I thank them for that. You can get it from maono.com.

Our generic standard disclaimer.

The post MAONO WM620 Wireless Microphone Review – UFO 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

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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.

I tested the V3 in my office system, which presently consists of a 100w  Acurus A100 amp/L10 preamp driving PSB Synchrony 1B speakers, which have moderate sensitivity at 88dB and 4 ohm impedance; I also swapped in my (seriously great), 92dB ADS L520s and, for laughs, my notoriously power-hungry Revel M20 bookshelves. 

Fosi’s nonsensical claims of 300-600w output notwithstanding, Durwood guesstimated the power of the V3 (with the stock 32v power supply) at 30-50w@ 8oHm, which sounds about right (ASR measured it at 38W). The results in listening tests were quite predictable, which is to say the V3 fared best with the very efficient ADS and worst with the tough-to-drive Revels, which sounded clean and undistorted but almost bassless.

In contrast to comparable, cheap Class D amps like the SMSL A300 (review here), the V3 is fairly neutral and uncolored—it eschews the bright, “digital” quality of its peers, while retaining surprising high end detail and extension. Channel separation is clean and there’s no audible distortion, even at high volumes.

The conventional Acurus amp, however, shows substantially more body and warmth; notes on the Acurus are thicker-textures and the presentation is smoother (if somewhat less resolving). Most significantly, bass on the Acurus sounds much deeper and fuller; the little V3 sounds comparatively flat and lacking in dynamics and drive. Comparison to the Parasound HCA 1500 in my main system yielded the same outcome. Of course, the Acurus and Parasound are significantly more powerful, expensive and physically larger.

To some extent, the V3 exemplifies the intrinsic differences between Class D and conventional amps, which is to say it trades a beefier, more forgiving tone for clarity and resolution. It’s wholly inoffensive and, especially considering the $89 pricetag, a very credible entrant in the small-form factor amp segment. Truth be told, though, unless you’re driving very efficient speakers and desk space is a priority, you’re better off with a more robust amp.

Disclaimer: borrowed from Durwood.

Specifications Hidizs Fosi Audio V3

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The post Fosi Audio V3 Amplifier Review (2) – Second Opinion 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!

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DISCLAIMER

Our generic standard disclaimer.

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

INTRODUCTION

Courting green audio aficionados and perhaps some seasoned folks, the Fosi Audio ZA3 desktop amp has the allure of affordable yet buzz worthy tech. They have built an arsenal of small but mighty desktop power amplifier solutions, from 2 channel, 3 channel and now a select-able two channel/monoblock built around the Texas Instruments TPA3255 class D amp chip. 

By scaling back maximum power, they are able to also run it in a lower signal to noise ratio region that makes it clean and resolving at the same time and delivering plenty of power for a desktop or even room filling output. However we need to be realistic about the 300W max power output as the power supply is not large enough to deliver true 300W continuous power output with the 32V maxing out at 160W or 240W for the 48V version.

Having experimented with the TB10D, and V3 amplifiers from Fosi Audio, the ZA3 is the next generation or third iteration of this design, each one improving on the next as it should. The TB10D/BT20A Pro were Gen1 using the TPA3255 and were the most powerful version…until they launched the V3 with a 48V 5A power supply option.

Technically you can order the 48V 5A power supply and use it with the TB10D Pro for more power with reduced signal to noise specifications. Fosi Audio offers it with 32V/5A. 48V/5A or no power supply options priced at $129, $149 and $99 respectively.

FEATURE COMMENTARY

Ideally though the V3 was fairly well received minus some caveats, and the Fosi Audio ZA3 is a more mature version with the stylistic elements of a burnt orange volume knob, balanced inputs, a usable preamp and a mono mode to boost power output, or wastefully use it to power a small subwoofer.

New features not available on their other models include the switchable RCA or XLR balanced input that accepts ¼” TRS/XLR. With these two unbalanced and balanced connections you get two inputs. We are still stuck with the tiny binding posts found on their other models, I tend to use banana jacks for easy switching anyway.

Other new features include the subwoofer output, and 12V trigger input to automatically turn it on/off with a preamp or AVR? Another more diy approach for desktop PC users would be to run a 12v out from your desktop PC and trigger it that way. There are most likely some DACs out there with 12 trigger outputs to turn it on as well. I did test this with my ancient Denon AVR-3806 and it comes in handy, let me explain.

The Fosi Audio ZA3 powers on or off with a long press on the volume knob, it seems sensitive to where you push on it, or it did not always recognize that I had tried to turn it on. Maybe I was impatient, but sometimes I just did not have the magic touch to turn it on. I would prefer a standalone power switch if the knob is going to be touchy. The knob itself is smooth and the indentation is prominent enough to see the position of it from across the room.

With the 48V 5A power supply almost as big as the amp itself, I felt comfortable taking this thing for a spin as the main room amplifier and freeing it from pure desktop usage. While it fits more at home there, it has plenty of output to be the focal point of a serious sound system.

The manual is not entirely clear about loading the amp, it states 2-8 ohm speaker systems, I imagine this is for stereo operation. To be safe, I would not recommend using a 2 ohm load in mono mode unless Fosi Audio explicitly states it.

SOUND COMPARISONS

Pairing the Fosi Audio ZA3 with my Amrita Audio Elan 8 inch 2 way floor standers, the SMSL DO100 DAC, and Sony DVP-SS7700 it performed rather exceptionally for a Class D chip amp. Imaging separation and clarity were quite noteworthy. Bass control was tight,  yet perhaps a little restrained. This was not a lack of power as I was running it at a decent listening level about 50% maximum clean output, instead there was  some richness missing.

Swapping in a Parasound HCA800 II set to the same level, it sounded more enveloping and the bass had more texture and warmth. More meaty and visceral sounding, I swapped in the Adcom GFA-545 again doing some level matching and noticed it too had more drive behind the bass.

Between these two amps, they both gave the impression of stronger depth and more envelopment. The Fosi Audio ZA3 had a defined stage width with less front to back range, and the Parasound felt more like an arcing stage as opposed to a flat stage.

To be fair, these are some well regarded 2 channel amps with plenty of power supply and output current to power the vast majority of 2 channel sound systems into blissful happiness. Next I put it up against the Denon AVR-3806, a decently powerful home theater receiver and it did not have the same clarity or resolution of the Fosi Audio ZA3. 

My final test of the Fosi Audio ZA3 was to incorporate the subwoofer pre-out. The addition of the subwoofer pre-out helps with the new wave of small bookshelf plus subwoofer setups. It is much easier in a smaller room or desktop setup to make room for a bookshelf and offload the heavy lifting to the subwoofer on bass duty.

The pre-out has a 200Hz low pass filter and is controlled via the volume knob. The V3 pre-out was not a true pre-out, so Fosi implemented a proper and useful feature. Note it can be used to supplement the natural roll-off of your main speakers, there is no high pass filter for the main channels and you would need to use the built in crossover of your subwoofer to adjust it down to a proper cut-off frequency.

MODDING AND HOT-RODDING

Op-amp swapping carries over from the V3 to the Fosi Audio ZA3. Removing four 2mm hex screws (two on the back panel, two underneath), prying off the volume knob with a plastic cooking spatula, and loosening the 10mm nut gives you access to the internals, which construction shows are miles and miles better than a Dayton Audio DTA-100a I have from over a decade ago.

The op-amps are used in the pre-amplification stages and provide gain and feedback control to minimize distortion. There are a total of five op-amps that can be swapped, one for each Left/Right, two for the subwoofer pre-out (one is used for the filter), and one for the XLR.

They come stock with TI NE5532 which is vintage by audio standards, but an extremely stable, inexpensive, noise free op-amp found in millions of audio devices including professional audio gear.

Other boutique op-amps can be swapped in, but adding new ones may not always be a great idea or guarantee “better” performance. It is fairly easy for some faster op-amps to become unstable and oscillate in the wrong situation, or perhaps they cannot drive the load, or the gain is not structured correctly to minimize distortion.

 The high price tags of other op-amps might be a result of low use so it does not benefit from economy of scale, or just flat out because they can. I happen to have 4 BB ones ranging from the OPA2134PA, 2227P, 2228P and 2107AP from an Audiotrak Prodigy soundcard experiment.

I might investigate in a separate review if I find it interesting enough, some of them might add noise or cause instability and I would like to measure the effects if possible using my limited measurement equipment. The heatsink + power resistors would most likely overheat when looking at distortion components, I really need to bring out my water heater element load to handle the power better.

Bipolar, FET and discrete op-amps can behave differently as well so without proper testing equipment, you might introduce some coloration into your audio chain. There used to be great information by Douglas Self over a decade ago, but there are also many other great resources (59+ op amps tested ) found throughout the internet or in books.

You can also just take the religious route and just believe. I can fully appreciate how hard it is to remove sighted bias from testing, and how short our memory is if not performing quick changes to compare.

FINAL REMARKS

I did test it in mono mode while I did some housework, and it never got too warm or shut down. I was not stress testing, but I feel confident that the Fosi Audio ZA3 handles mono loads just fine and they boost a 240W power rating into a 4 ohm load. Get two and run them as monoblocks and have ultimate channel separation.

Channel separation is the noise of one channel bleeding into the other channel if you were unaware. One missing feature is a volume control bypass for the dual mono folks, but max them out and let it rip through another pre-amp device, DAC or streamer.

One feature missing is perhaps a phono input for the resurgence of vinyl. It’s not a must have feature, as those really into vinyl might prefer to use a standalone phono preamp of their choosing anyway. Other people might prefer bluetooth input instead, a good DAC or preamp might include those features separately, I enjoy this as just an amp.

Class D is essentially a motor control circuit design tailored to meet the audible audio frequency spectrum requirements, and speakers share similarities to motors in that a coil of wire is excited through a magnetic field. There should be no fear in using modern Class D amps and losing fidelity. While differences were noted between full fledged larger brethren, I have minor qualms in recommending the Fosi Audio ZA3 amplifier.

While the V3 is on loan to Loomis I am unable to directly compare, I believe the ZA3 stages closer to the Adcom and Parasound than the V3 did. It does a better amplification job than an AVR and it looks sleek on a desktop being plenty powerful in a nearfield setup.

Disclaimer: Fosi Audio thankfully provided this gratis and this review was not written by robots.

FOSI AUDIO ZA3 SPECIFICATIONS

Chip Set Texas Instruments TPA3255
Output Power With 48V/5A PSU
Stereo: 155Wx2 @4Ω
Mono: 235Wx1 @4Ω
With 32V/5A PSU
Stereo: 95Wx2 @4Ω
Mono: 110Wx1 @4Ω
Terminating Impedance 2-8Ω
Input Mode RCA, XLR, 1/4″ TRS
Output Mode Speaker Output (supports banana plug or bare wire connection), Active Subwoofer Output
Frequency Range 20Hz – 20KHz(±0.1dB)
SINAD 89dB
THD ＜0.006%
SNR ≥106dB
Dynamic Range ≥106dB
Device Dimension 15.49 x 18.39 x 5.08 cm; 1.78 Kilograms
DC Input Range 24-48V
Power Supply 32V/5A, 48V/5A

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DISCLAIMER

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Fosi Audio Direct

Our generic standard disclaimer.

About my measurements.

The post Fosi Audio ZA3 Stereo/Mono Amp Review – Making New Friends appeared first on Music For The Masses.

Unlike the stubby, cable-less SD2, the bespoke aluminum-and-glass S9 Pro Plus utilizes the same traditional cabled design as its S9 forbearers, but adds volume buttons which allow for much finer adjustments than most source’s volume control and which double as selectors for six different digital filters (fast roll-off, linear phase slow roll-off etc.).

Both sampling rate and filter effects are indicated by colored lighting, which is a nice aesthetic bonus. As with most such gimmicks, the filters on the S9 Pro Plus have a very small (but audible) effect on the presentation, with the “slow” settings showing less ringing and more rounded treble. Ultra hirez PCM and DSD support is provided, though curiously no MQA, which seems to be a dying breed.

Prior reviews of the S9 Pro Plus have stressed its considerable driving power and inclusion of a balanced (4.4m) out, and it certainly is a lusty beast—even through the single-ended out IEMs of average sensitivity sounded loud at 33% of my Pixel 6’s volume, while (other than losing a little subbass depth and  tightness) the 300 ohm/97dB Senn HD 600 didn’t break a sweat when played through the balanced out.

For all that, careful pairing is advised—unlike the S3, the S9 Pro Plus did not match well with very sensitive IEMs like the BGVP DM8 or the KZ ZS10 Pro, which sounded edgy/strident at the high end, especially at higher volumes. In general, the S9 Pro Plus seemed to play better with higher impedance (>50 ohm) phones. Note, too, that if battery life is a priority, the Plus is very power-hungry and will get warm with use. 

The Plus uses an ESS DAC chip which imparts a very different signature to the Plus—in contrast to the brightness, forwardness and lean note texture of the its progeny, the S9 is less adrenalized (though not exactly laid-back), with a neutral-to-slightly warm timbre and a thick, but still-crisp note texture. Bass has considerable depth and emphasis, mainly in the subbass region, but remains tight.

Where the SD2, which image very well and present a lot of space between performers, imparted a “bigness” to the music, the S9 Pro Plus sounds simply massive—upright bass has a resonance and body you won’t hear with lesser pieces, while snare drums have a booming-but-realistic snap. Unlike, say, the Moondrop Dawn, overall coloration isn’t wholly absent, but is considerably less on the Plus and there’s little of the digital sheen you’ll hear on the S9 or SD2.

Resolution and transparency are very, very good—little nuances like the quiet guitar echoes and cymbal taps on INXS’s “Need You Tonight” are revealed in a way I’ve never heard before, while the unadorned piano on Keith Jarrett’s “Koln Concert” sounds eerily lifelike. Other than some hiss on very sensitive phones, background noise is wholly absent.

Yet unlike the similarly revealing SD2, the S9 Pro Plus avoids sounding clinical or excessively detailed, and coherence is almost flawless, and you can pick out different performers without losing focus on the musical whole. Which is not to say they’re particularly smooth or mellow—they still retain a hint of Hidizs’s characteristic sharpness/metallic edge at the highest frequencies, and treble-averse listeners might find it slightly hot, but for most of us it’s an appealing, very detailed presentation.

Nominally $139, the S9 Pro Plus is selling for $89 on the Hidizs website, which is only a few sou more than Hidizs’ less powerful models and actually cheaper than the (non-Plus) S9. Especially considering its build quality, flashing lights and fancy tech specs, this seems like good value. Again, it doesn’t achieve the purist’s audiophile-neutral ideal, and you’ll need to be careful with impedance matching, but the S9 Pro Plus plays at a significantly higher level than its cheaper peers and gets my gushing praise.

Disclaimer—yet another freebie from Hidizs—get one here: https://www.hidizs.net/

Specifications Hidizs S9 Pro Plus Martha

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INTRO

The Colorfly CDA-M1P is a force to be reckoned with in terms of shear weight for a portable USB DAC dongle. Sometimes making things heavy to appease those that equate heavy with quality does not improve the experience. Something this heavy jammed into a pocket with a phone gives me a moment of worry in terms of damage to screens and such.

The predecessor to the Colorfly CDA-M1, the CDA-M1P utilizes the AKM DAC chips over ESS, different opamps and adds some more power. The bass presents strength, the treble is gentle, and the overall package is a mixed bag in features.

FEATURES

The detachable ribbon cable is the same as the fixed cable on the Moondrop Dawn 4.4. I particularly do not enjoy the rigidity of the cable, but again maybe the designers had concerns of a more flexible cable not holding up to the forces a heavier dongle may weigh onto the cable connections.

One final concern involves the 130ma current draw regardless of gain setting. While not the highest I have seen from other dongles, it will drain your battery faster than other dongles such as the Truthears Shio that clock in around 50ma. It is quite interesting that the high/low gain settings do not impact current draw. This seems to be the case on all USB dongle DACs I have tested so far. It does however generate significant heat in the high gain setting mode.

The heavy zinc alloy electroplated case is smooth, extremely solid, and the fit and finish is most excellent. The beef of the case helps to dissipate the extra heat generated from the higher power consumption. The detachable USB-C cable fits tight and snug. The user can change out the cable in case of failure, general preference, or for something longer if using at home.

Airing out my grievances of the Colorfly CDA-M1P we can focus more on what it aims to achieve in terms of sound. Packed inside is the AKM4493SEQ DAC chip allowing 6 filter changes. It also includes dual opamp gain stages powered by the XR2001 opamp. I am not familiar with this opamp and trying to find a datasheet was difficult. The opamp allows higher output power than relying solely on the DAC chip itself.

We get a powerful 125mW single ended and 240mW 4.4mm balanced output at 32 ohms. There are more powerful options for single ended, but balanced output is near the top of other DACs in the same class. It’s not going to be equivalent to a dedicated desktop dac/amp, but it will provide increased power and control for moderately high impedance headphones doing justice for loads 150 ohms or less 300 ohm is the ultimate ceiling for me.

Low and High Gain modes are selected by pressing both volume buttons at the same time, with the red light indicating low and yellow high gain. Colorfly recommends low gain for anything under 120 ohms, and high impedance/gain mode for greater than 120 ohms.

The Colorfly CDA-M1P is a direct competitor and shares almost all the same features as the Shanling UA3 previously reviewed. As DAC’s are trending downward in price, the Colorfly CDA-MP1 shaves off $40 coming in at $79. The Shanling UA3 can be used with their Eddict Player app which allows control of assigning buttons and changing filter settings. The Colorfly CDA-MP1 is only controlled via the buttons.

Due to only hardware control, I could not tell what filter mode the Colorfly CDA-M1P was set in easily without the help of the manual. Only mode 6 flashes the white light twice when pressing both volume buttons long enough. Once you know it is in mode 6 you can cycle back to the other modes by keeping track of how many times you switch it. This has an impact since I wanted to match the filter of the Shanling to that of the Colorfly.

DSD fans with have several options offering 512 native decoding or 256 DoP decoding with sampling frequencies up to 768khz. For simpler connections there is a UAC1.0 mode to connect with legacy connection devices such as the Nintendo Switch.

SOUND

Tested with LG G8 Sennheiser IE200 Single-ended, and Sivga Nightingale, BGVP DM9 Balanced

I notice it sounds fuller and balanced compared to the thinner in the lower mids and brighter Shanling UA3. The UA3 sounds more V shaped with slightly more sculpted bass with longer decay and impact. They will both measure flat, so this likely comes from noise shaping and distortion handling. We are talking about tiny differences here though. 

Cymbals sound smoothed and cleaner on the Colorfly CDA- M1P overall. There is some increased naturalness when paired with the Sivga Nightingale in balanced mode in comparison to the UA3. I don’t know if the UA3 struggles to control the planar driver but it also sounds compressed and tinny.

Now against the Moondrop Dawn 4.4, the Colorfly sounds cleaner and bass has more low end grunt. The Moondrop Dawn is less exciting and focuses on the lower treble enhancement and midbass impact. I would clearly pick the Colorfly CDA-M1P as it sounds cleaner and more resolving.

FINAL REMARKS

Taking dings in the power consumption, weight and user settings categories, the Colorfly CDA-M1P is a strong contender for clean transparent sound. If you are not one to tinker too much and don’t mind a pocket weight heater, the Colorfly CDA-M1P performs well.

Disclaimer: I am grateful ShenzhenAudio.com sent this free of charge no strings attached. That is how we like our relationships.

PACKAGE CONTENTS

DAC
Cable USB-C to USB-C
Instruction manual

SPECIFICATIONS

Dimensions: 562214.5mm
Weight: 46g
USB Interface: Type C
Signal-to-Noise Ratio: 125dB
Frequency Response: 20Hz~20kHz
Dynamic Range: 122dB
Decoding Formats:
PCM 32Bit / 768kHz
DSD 512 / Native
DSD 256 / Dop

THD+N:
-104dB@RL=600Ω，0dB/Balanced
-100dB@RL=32Ω，100mW/Balanced
-104dB@RL=600Ω，0dB/Unbalanced
-100dB@RL=32Ω，100mW/Unbalanced

Headphone Jack:
3.5mm Unbalanced / 4.4mm Balanced

Output Level:
2Vrms @RL=600Ω Unbalanced Output
4Vrms @RL=600Ω Balanced Output

Maximum Output Power:
125mW@RL=32Ω Unbalanced Output
240mW@RL=32Ω Balanced Output

Firmware Upgrade: Support for future upgrades

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DISCLAIMER

Get it from ShenzhenAudio.com Store

Our generic standard disclaimer.

About my measurements.

The post Colorfly CDA-M1P DAC Review – Whoa This is Heavy Doc appeared first on Music For The Masses.

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

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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.

It’s not like I needed more bad habits, but in anticipation of democracy ending this year, I’ve recently gotten into Tequila, which has a number of analogues to DAC/dongles, i.e.:

• Price is a (very) imperfect measure of quality (although $50-60 seems to be sweet spot);
• Larger, established brands are typically trumped by the smaller boutique stuff; and
• It’s a hard commodity to write about—descriptions of aroma/taste etc. rarely do justice to the actual drinking experience.

Try Siete Leguas or Marcame Anejo, which wholly outclass the Don Julios and Patrons of the world.

Which, in an admittedly roundabout way brings me to Hidizs’ latest the $39.99 SD2. Straight up, I don’t really like the SD2’s stubby, hexagonal form factor, which seems more inclined to get snagged in a pocket than a conventional cabled dongle (and also looks funny). Build quality, however, is excellent—machining is impeccable and the jewel-like alloy casing exudes quality. 

The SD2 does PCM 384/32 DSD 128 as opposed to the ostensibly higher-rez PCM 768/32 and DSD 512 on Hidisz’s pricier models; whether or not you can hear the difference is an open question. In case anyone still cares, the SD2 is MQA-capable. Tiny blue/red sample rate indicator will surely please obsessives. 

 Output power on the SD2 is spec’d at 70mw, which renders it beefier than prior Hidisz house favorite S3 but less robust than the Hidizs S9, which, unlike the SD2 also has balanced outs for more juice. As such, I found the SD2 to pair well with efficient (16-32 ohm) IEMs and fully capable of driving fairly tough loads like the Koss KSC75.

With more challenging phones like the 300 ohm Sennheiser HD 600, the SD was adequate but slightly underpowered, which is audible mainly at the low end, which sounds more billowy and slow than with the SD2 than through the balance out of the S9.  I did observe that compared to my current go-tos like the Truthear Shio, the SD2 is quite a power hog, although it remains cool to the touch.

So how does it sound? Quite a bit like the S9 actually, with a ballsy, bright tonality that accentuates midrange and imparts a lot of sparkle and crispness at the high end. As with the S9, there is considerable coloration to the proceedings—voices and percussion have a hyper-pixilated quality that can sound analytical or overly-energetic on some material, although micro-details are very cleanly presented. Background is very quiet and at least on more sensitive phones, bass is speedy and tight and soundstage is expansive and three-dimensional, with a lot of air between instruments. 

Where the SD2 really stands out is in its stereo imaging, which is as precise as I’ve heard at this price point. The position of each performer is immediately discernible, and there’s no recognizable bleed between frequencies. Large-scale orchestral works are impressively sorted out, as are dense rock tracks (you can actually hear Ian Stewart’s piano on the Stone’s “Shake Your Hips”).

Now, among its peers the Truthear Shio or Cozoy Tact have a more natural/neutral presentation, but are notably less resolving and extended—your preference will likely be source-dependent. Hidisz’s own S3 (orig. $69, now discounted to $39) trails the SD2 in dynamic slam and high-end detail, but sounds a tad smoother and has a similarly wide soundstage and much of the same forward, energetic character.

Ultimately, even when the effects of my Tequila binge have subsided, the SD2 earns a thumbs up—it’s a very big-sounding piece which throws off a lot of sonic information. 

Disclaimer: per past practice the SD2 was sent to us unsolicited by Hidisz. You can buy one here: https://www.hidizs.net/products/hidizs-sd2-hifi-type-c-to-3-5mm-adapter-dongle-dac. It’s your money, after all.

Specifications Hidizs SD2

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The post Hidizs SD2 Hifi Type-C to 3.5mm Dongle DAC Review – Of Gods, Generals And Agave 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

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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.

The $4.99 CAD/$ 3.99 USD/3.99 € IKEA HAVSKÅL is a set of two USB-cable weights (one black, one yellow that help keeping your equipment on your desk or other flat surfaces. I purchased it from IKEA Calgary.

I like accessories that add functionality to my equipment without breaking the bank. IKEA, who stand for pragmatic design like not other company, does not only offer furniture, but also electronics such as batteries, chargers, digital cables, and even speakers and a record player.

I own tons of USB cables which not only cause clutter, but that also dangle down from the table, the charger or computer is resting on. If you are unlucky, the phone of DAP at the end of it will be dragged down by the cable…and could be damaged. Or you pull on the phone and rip the attached computer off the table. Not good.

What is needed to avoid such mishap is a weight between, let’s say the source computer and the charging phone.

The Havskål comes to the rescue: it consists of two halves that are being held together by magnets. It is mainly made of rubber so that it won’d damage the floor when being dropped. Most important is its generous weight of 90 g, which stabilizes the anchor on its surface.

Specifications Havskål

The USB cable is being placed in the grooves between the halves. The diameter is big enough for “normal” USB cables…I can also fit my AudioQuest ones in there without problem. But if you want to use it for other, fancier, fatter cables, you are out of luck. After all, the cable has to sit tight in there.

While the Havskål works well, it may be a bit big and chunky for some. I’d like to see versions for 2 and 3 cables in the future. Some more exciting colours would also help. The Havskål is certainly rugged and functional, but it looks a bit cheap. Oh, and Havskål is Swedish and translates as “Sea Shell”.

Said it before: simple things can make a big difference.

Until next time…keep on listening!

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DISCLAIMER

Our generic standard disclaimer.

The post IKEA HAVSKÅL 2-Piece USB Anchor Review – All Aboard 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.

The $60 ddHiFi M120A is a well-made, haptically, and optically very appealing earphone cable with a great jewelry effect that is sadly only available as single-ended with a 3.5 mm plug.

The M120A cable was supplied by ddHiFi for my review…and I thank them for that. You can get it from the DD Official Store.

Arrgh, I was talked again into analyzing an earphone cable that came piggyback with the ddHiFi Janus3 earphone. I don’t like doing this as such reviews give a reviewer a bad name. Why? Because every single cable reviewed “sounds better”, frequently “instantaneously better” than any stock cable or competitor it is compared to.

There is no doubt that analog cables contribute to sonic differences, although they may “measure the same”. No surprise here either as there is no physical correlation between impedance and capacitance on one hand, and soundstage, note definition etc. on the other.

Another problem with testing cables is the reviewers’ expectation bias, fueled by the lack of memory between re-cabling the test earphones. My memory is certainly insufficient and A/B-ing on the push of a button is not possible. There was only one analyst, the revered B9Scrambler, who never included sonic characterizations or comparisons in his reviews.

Even if such were real, they would only apply to that particular test setup and would not be universally valid.

ddHifi are a Chinese company that specialize on audio accessories (with a few exceptions such as the Janus earphone line). Their products are imaginative, practical and of high quality. If you want to get a cross section of their gear, check our reviews of their products. The M120A analyzed here is an earphone cable that comes optionally with MMCX or 2-pin connectors, and a 3.5 mm plug (no balanced version available).

The specs need some explanation:

• CTIA standard refers to the plug with the microphone connector on the sleeve end, which works with all modern smartphones.
• Litz refers to the internal cable structure; it is a special type of multistrand cable designed to reduce skin and proximity effect losses in conducturs below 1 MHz.
• AWG is the short for American Wire Gauge and relates to the wire diameter.
• OCC characterizes the wire material and stands for “Ohno Continuous Casting”. It refers to a method of copper refining developed and patented by Professor Ohno of the Chiba Institute of Technology in Japan. The process results in essentially oxygen free pure copper, which has ultra-low impedance that results in rapid signal transmission. And the lack of impurities makes the material corrosion resistant.

The cable is built extremely well with sturdy metal connectors on both ends. It feels rigid and minimizes noise transmission. The jacket is of rather hard polycarbonate and is dirt and water repellent. What I find most appealing is the fact that this cable lacks memory wires…it can be worn over and under ear. Strange that nobody else has had this great idea before. The cable is thin, almost spindly, and light, which contributes to its comfort.

I chose the 0.78 mm two-pin connectors over the MMXX. The two-pin connectors have a universal fit, which includes recessed sockets in earpieces.

When it came to testing this cable, it was initially catching dust. I could not be, pardon, arsed, to tell you how good or bad it sounded. But one fine evening, I ripped the CEMA RX series cable off my LETSHUOER EJ07M iems, and plugged the M120A in. First: it really upgrades these >$600 in terms of haptic and appearance. Second, the M120A is haptically a pleasure. And third, I liked listening to it.

Using the iPhone SE (1st gen.) with the AudioQuest DragonFly Cobalt, my latest “Deutsche Grammophon” classical music acquisitions sounded full and balanced. Whether this is better than the CEMA cable is completely irrelevant for you, everybody has to test a cable with their own equipment. All I can say is that I really like using this cable, and that I am positively surprised.

If you want to test this or any other cable for your yourself, please consider these points:

1. Cables can make a sonic difference, mainly with multi-driver earphones
2. This difference possibly relates to impedance, wire material, and wire structure
3. Impedance differences may in some cases be large enough to result in different sound volumes and can also alter the earphone’s frequency response; such changes in the frequency response can be calculated
4. Cables may not make any difference with some earphones
5. Listeners often mistake volume increase due to lower impedance for sonic improvement
6. The sonic differences between cables are largely independent of price
7. If sonic differences between cables exist, they are not universally valid but only relate to that particular earphone and the cables used in that particular comparison
8. Eartips are the cheaper alternative to achieve a different sound
9. Expensive upgrade cables may sound worse with your favourite earphone than stock cable
10. One may be better off spending the upgrade cable’s price on better earphones

And what does the mic sound like? Here my test recording:

In summary, the M120A works for me. It sits at the upper end of what I cheapskate have spent on an earphone cable in the past. I am just sad that a balanced version does not exist.

Until next time…keep on listening!

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Gallery ddHiFi M120A

Disclaimer

Our generic standard disclaimer.

The post ddHiFi M120A Earphone Cable With Mic Review – Sexy Hexy appeared first on Music For The Masses.

INTRO

Fosi Audio has been pumping out desktop audio gear like mad and the new Fosi Audio P3 preamp is designed to fit with many of their desktop amplifiers like the TB10D, or their well received V3 amp.

It is a bit of a conundrum to pair the P3 with the V3 given the V3 was marked an audiophile piece, but there are audiophiles that also believe only the best sound comes from tubes. There is room for all types in this hobby, and priced at $79 this is a low entry fee for hybrid tube preamps.

THE EVALUATION

The Fosi Audio P3 is not a tube only design relying on solid state to drive the output. The tubes are only injecting colorful fun. Despite the Fosi Audio P3 measuring flat, it does impart a sonic signature due to harmonic distortion components.

Low end is warm, and the treble becomes vivid. The midrange has some additional tone weight and separates from the homogeneous exactness of a solid state amplifier. Some staging separation is condensed, but at the expense of drawing out some depth components. 

Analyzing the features of the Fosi Audio P3 I appreciate the tone controls have detents for the zero position. This was something that bothered me on the TB10D and BT30 Pro. The tone controls allow a 10dB boost in the bass, and 6dB in the treble.

These features are similar but not exactly the same as the Ampapa A1 that has detents for all positions. The knobs feel solid and are tapered to allow your fingers to turn the knobs without hitting the table. They are dainty in size, smooth and solid. The Ampapa A1 are more substantial and retro feeling.

The tubes used in the Fosi Audio P3 are the same GE JAN 6594 tubes, they both have a headphone output, but the secondary input is where they differ. The Ampapa A1 offers a phono input while the Fosi Audio P3 provides bluetooth.

There is also an Auxiliary output on the P3, but it is redundant to the RCA connection. This extra connection is tied to the volume control unlike the auxiliary output of the V3. Inside the Fosi Audio P3, the blueooth chipset supports up to AptXHD and AptX Low-latency but not LDAC. Range is good with the external antenna.

The headphone output is strong and capable or perhaps sufficient to power my Drop Sennheiser HD6XX however there is a limit where there could be more control. You can tell it poops out just as you get to the good stuff and the specs indicate why with only 32mW of power at 300ohms. The headphone output is not the star of the show, the SMSL HO100 and JDS Labs Atom have more bottom end control and the tube coloration also changes the treble and midrange clarity and separation.

Fosi Audio P3 uses a logarithmic taper volume POT for more even volume control. Linears POTs jump to fast in the low to mid volume section. Another potential downside is the use of the 3.5mm jack instead of the larger 6.35mm. While the majority of headphones use 3.5mm, a 6.35mm with an adapter can help improve longevity. If the adapter fails or gets worn, it is easier to replace.

Other observations, there is a 15 second turn on time most likely to allow the tubes to warm up. I also again appreciate the Fosi Audio P3 includes a UL listed external Nationally Recognized Test Lab 12V 1.5amp power adapter. For me this is important so as to not have self certified power adapters plugged into my home.

WHAT’S LEFT?

The compact size and form factor fits in line with their TB10D, and the V3 and their K5 DAC (not tested). The finish is more satin/matte than the TBD10D, but matches the V3 aesthetic. The tubes fit snugly into the sockets.

For someone looking for an inexpensive hybrid tube solid state preamp, with a semi-powerful headphone output and bluetooth support in place of a phono input, the Fosi Audio P3 is a good contender. It adds a little harmonic punch, midrange pop and treble glisten to butter up your music.

Disclaimer: Sent to me gratis for an evaluation. We appreciate Fosi Audio for allowing us to pick and poke at their products from time to time.

Purchase Links (non-affiliate/no commisions earned):

https://fosiaudio.com/products/fosi-audio-p3-tube-preamp
https://s.click.aliexpress.com/e/_ok91hH7
https://fosiaudio.com/pages/preamp-p3#g-szpTrknv
https://www.ebay.com/itm/296013294697?nordt=true

SPECIFICATIONS

https://fosiaudio.com/pages/preamp-p3

Headphone Output Power:
250mw @16Ω；150mw @32Ω
32mw @250Ω；20mW @300Ω
Headphone Impedance: 16-300Ω
SNR: ≥103dB
Dynamic Range: 104dB
THD: ≤ 0.02%
Noise Floor: 64uV
Crosstalk: 95dB
Frequency Response Range: 20Hz-20kHz(±1dB)
Bluetooth Chip：QCC3031
Bluetooth Version：5.1
Bluetooth Range：≥10m
Bluetooth Codecs：SBC/AAC/aptX/aptX HD/aptX LL
Power Input：DC 12V/1.5A~3A

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DISCLAIMER Fosi Audio P3

Our generic standard disclaimer.

About my measurements.

The post Fosi Audio P3 Hybrid Tube Preamp Review – Let Your Soul Glow appeared first on Music For The Masses.

I have 3 units to test within my quite articulated home setup, and verify if / which sonic improvements are determined by the presence of one, or more, JitterBug FMJ units in line with and/or in parallel to my various DAC connections.

JitterBug FMJ retails in EU for € 69,00 and can be purchased from multiple sources, including Amazon. The manufacturer’s official information page is here.

At-a-glance Card

Introduction

I know it very well: there’s a thick population of “non-believers” who apriori refuse the whole concept of USB filtering.

Sole thing I can say about and to them is: fair enough ! If you are one of that lot I recommend you stop here, don’t go forward reading this article as I guarantee you won’t like it so why bother.

Some others are instead very confused about the topic.

Not about AudioQuest’s JitterBug FMJ per se, actually, or not yet about it, insofar as they “stop much before”, not having clear which “noise” are we talking about that a device like JitterBug FMJ (and others, in the same category) is supposed to do something with.

To all of them I dedicated the introduction to a past article of mine reviewing IFI’s Nano iUSB 3.0 filtered power supply, which I spun off into a separate post some time ago precisely to conveniently back-link to it from within other review articles (like this one), without dumbly “re-pasting” the whole thing again and again.

Long story (too) short: there’s of course no way nor need to “improve” on digital data quality. There’s however point, and need, to avoid that data depletes during transport, and/or that transport media (cables) “trojan-ride” spurious signals, together with legit data, which may, and will, perturbate the DAC’s activity.

General description and features

JitterBug FMJ looks like, and has the size of, a common USB-key drive. It’s in facts a sort of “passthrough” thingie: on one end is a USB-A male plug, on the opposite end a USB-A female connector.

The chassis is metallic, studied to protect the inside from nearfield RF interference. The female USB port is protected by a removable “cap” make of rubber mixed with carbon – that, too, aiming at tackling RF interference. Both such features (metal chassis and backport cap) are indeed inherent to this new “FMJ” version and were not present in the original JitterBug. FMJ standing in facts for “Full Metal Jacket”.

Finally, the ciruitry on the PCB inside the case is aiming at removing in-line RF interference, such as that generated (or transmitted) by pretty much any digital device e.g. a computer, a TV, an audio player, etc.

You can see JitterBug FMJ as a filter reducing / eliminating any signal coming out of a USB port which is distant from the working frequencies required by the digital data which are solely supposed to be managed by that port.

As a consequence the DAC will receive “just what it’s supposed to get”, with no, or at least much less “other spurious stuff”.

Of course electrical impurities might not be there in the first place in some case, or, they may be filtered/rejected by some circuitry built into the DAC device itself, and in these cases adding a Jitterbug FMJ may be simply… useless.

Another case where a JitterBug FMJ may be only partially or not-at-all beneficial, is of course when spurious signals and interference are picked up downstream of its location.

So in general JitterBug FMJ (and all other similar equipment) is not – as it cannot be – a guaranteed hit, nor a guaranteed complete solution.

As in all or at least most things audio, a try is needed to know if and how much it benefits each particular setup.

How to use it (in the manufacturer’s intention)

Quite simply, Jitterbug FMJ is intended to be plugged into a USB port on a music player host (a pc, a mac or a linux box). Then, the USB cable leading to an external DAC or DAC/AMP will be plugged onto JitterBug FMJ’s female connector.

There’s no driver to install, no options to set. Just plug it in and leave it there.

The removable rubber cap covering JitterBug FMJ’s female port is supposed to be put back in place when no USB cable is connected. That’s because the carbon mixed into the rubber material helps acting as an anti-RF shield.

Always according to AudioQuest there’s also another way to use JitterBug FMJ: install 2 of them in parallel on the same host machine, plugging them onto two different USB ports (partaking to the same internal USB hub).

Onto one of the two JitterBug FMJ the USB cable going to the DAC is supposed to be plugged. The other JitterBug FMJ will just stay passively there, with the back rubber cap installed, and may (or may not) add a further level of intereference removal from the USB line.

OK, but does JitterBug FMJ actually work ?

Simply put: yes, and well, too.

First things first, I tried Jitterbug FMJ at its main intended usage scenario: plugged in-line between a host and a USB DAC or DAC-AMP.

I tried this on all 4 different hosts I normally use (also) for audio application, which are

• an aging MacBook Pro 2012 reourposed into acting exclusively as a Roon server
• a Lenovo Y520 laptop with Windows 10 which is my main general purpose work platform, including Roon Remoting, and gaming
• a BananaPi M2+ box with Debian Linux acting exclusively as a Roon Bridge, and
• a RaspberryPi 4 with Dietpi Linux (a well packaged Debian distro) also exclusively acting as a Roon bridge.

DACs (DAC/AMPs) connected to those include my Questyle CMA400i, the Earmen ST-AMP unit I’m reviewing, and the main “dongles” I own, which include Apogee Groove, E1DA’s PowerDAC 2.1, 9038D and 9038SG3, Questyle M15 and AudioQuest’s own DragonFly Cobalt. Oh, and a Chord Mojo, too, every now and then.

“Dongles” (i.e. host-powered) devices are by definition those exposed at the highest risk of “inheriting” host perturbance carried over via digital interconnects, that’s why I expect JitterBug FMJ’s effect to be most evident on them.

I also expect JitterBug FMJ to be more beneficial on devices plugged onto my Y520 laptop, and less so when the host is one of the raspberries (you should know the rationales of such expectation if you know this stuff at the technological level, or if you read my article referenced above).

Long story short: JitterBug FMJ does work, i.e. it did deliver a sound improvement, in all my different install positions.

The effect on final sound has been more evident, at times totally obvious, in some cases, and more subtle in others.

I can hear improvement on two main areas: better, more rounded up, fuller notes and darker background. Both these improvements together also result in a better sense of macrodynamics (imaging), which, depending on musical genre, also improves on rhythm perception.

Expectedly, out of all my gear the device for which the improvement is most subtle (yet still audible) is Questyle CMA-400i, no matter the host it is connected to.

Again very expectedly, the cases where Jitterbug FMJ’s improvement is obvious are those involving dongles (all of them – yes, including AudioQuest’s own Dragonfly Cobalt), connected to all my hosts, and maximally when connected to my Y520 “gaming” laptop.

Of course I also tried the other manufacturer-suggested use case, which is that of adding a second JitterBug FMJ in parallel to a first one, connected to a free USB port on the same host transport as the one onto which a USB DAC is connected.

This time my experience is not positive. Not negative either, actually, but I could not perceive any “further” improvement over the one obtained by the first unit – the one just plugged in-line between the host and the DAC. This happens on any one of my hosts, be them the small ARM SBC’s or the “noisy” gaming laptop.

Comparisons

iFi iSilencer+ (€ 59)

iSilencer is marketed as a device pursuing totally similar aims as JitterBug FMJ, so we can see it as iFi’s direct alternative to it. I had the opportunity to test a (few of) iSilencer unit(s), and I must say that, unlike Jitterbug FMJ, they did not hit the spot in my case.

Sadly, in my environment iSilencer wasn’t merely transparent (read: useless) but actually made sound worse: it fundamentally makes tones brighter, depressing mids and bass, reducing stage depth and making imaging worse.

iFi iPurifier 3 (€ 129/149)

iPurifier 3 is another device falling in the general “digital signal filters” category, but instead of removing carry-over electrical noise it focuses on signal timing – which is something on which JitterBug FMJ is only “consequently” involved.

I will soon release a piece about iPurifier3 but long story short: (in my setup) it does work. I’ve in particular been using it in-between one of my ARM-based Roon bridges and the Questyle CMA-400i desktop DAC-AMP, and it carried an audible improvement in terms of better treble notes definition, and perceivable better room size definition.

What’s even more interesting is that iPurifier 3 synergises positively with JitterBug FMJ: if I plug JitterBug FMJ on the ARM’s USB port, and iPurifier 3 on CMA-400i’s USB input port, I get both improvements at the same time. Very nice!

Conclusions

To me, JitterBug FMJ works – and very well so. It makes now standard part of my home setup, and I see no downsides to its adoption as an in-line USB channel filter, also considering its quite modest price tag.

A great thank you goes to AudioQuest for providing me with 2 more units (in addition to the one I earlier had already personally purchased) to allow me for extensive testing in multiple configurations.

Thanks a bunch to coblogger Kazi for the nice title image, too.

The post AudioQuest JitterBug FMJ Review – It’s Not About Dancing… appeared first on Music For The Masses.

MACK’S ThermaFit Soft Foam Ear Plugs are barrel-shaped noise stoppers that work well for my large ear canals in terms of comfort, fit, and effectiveness. They are also well suited for Flents Quiet Please users who cannot handle their new formula.

I thank Mack’s for supplying their ThermaFit for my review upon my request – after I could not purchase them at a reasonable price in Canada.

Introduction

Noise is unwanted sound. Noise annoys as the Manchester punk outfit Buzzcocks sang in the late 1970s. My three closest neighbours have an air conditioner, one of them also a hot tub. The guy across the street runs 2-stroke engines 12 month a year, for gardening in the summer and snow clearing in the winter. It is buzzing at any time of the day in and around my house, and sadly also during the night. To add insult to injury, my wife developed snoring recently.

Sadly, I am very sensitive to noise. As a classically trained (but failed) musician, hearing training was part of my education. This hard-acquired sensitivity is backfiring now. The city does not help as their bylaws do not factor in many environmental noises and the resulting vibrations. The choices are moving, educating the neighbours…or dampen the sound by insulating my ear canals.

That’s what the old Greeks did with beeswax, wool, cotton etc. whatever worked. But it was a German guy, Max Negwer, as late as 1907, who produced the first commercial ear plugs “Ohropax” (ear peace), mainly made of wax. Classical musician (another one) Ray Benner and his wife Cecilia purchased Mckeon Products in 1962. The company sold only Mack’s moldable clay ear plugs, named after the company founder. The couple subsequently invented the moldable silicone ear plug, saving swimmers from ear infection.

Memory foam ear plugs followed in 1972, marketed by the Cabot Safety company. They are made from either polyvinyl chloride (PVC) or polyurethane. The disposable ear plugs were born and quickly occupied the drugstores. Memory foam is the most comfortable, optimally moulding, and best sound absorbing material to this date.

Today, many people rely on ear protection for sleep. Some have been subscribing to ear plugs for decades. Others need protection on job sites. For all of us, companies like Mack’s offer a broad range of ear plugs for all ear shapes and noise reduction levels.

Ear plugs come in different shapes, mainly conical/tapered or cylindrical/barrel shaped. I am only concerned with the barrel shaped ones as only these fit my large ear canals, namely Mack’s ThermaFit.

Until recently, the US market featured two memory foam darlings, the Flents Quiet Please and the Mack’s ThermaFit. In Canada, only the Flents were readily available. Recently, Flents changed suppliers and completely switched the product around: different shape, different comfort and fit, and different materials with different physical properties. Long-term subscribers went mad: they reported skin rash, lack of insulation, lack of hold etc. they felt deceived and betrayed.

Mack’s ThermaFit ear plugs come to the rescue. They are very similar to the original Flents Quiet Please. In this article we will have a good look at these.

Specifications MACK’s ThermaFit Soft Foam Earplugs

What makes a good Ear Plug?

People need ear plugs for all sorts of situations and environments, as discussed above. The plugs have to insulate properly (duh!!!) but also provide good comfort, fit, and breathability. They should be skin friendly and not trigger allergies. Important is their ability for long-term use. Many people have subscriptions with the supplier and have used the same product for decades. Product continuity means reliability and is therefore of utmost importance.

The Mack’s ThermaFit tick all these boxes.

How do the Mack’s ThermaFit perform?

Mack’s ThermaFit are made of porous PVC, in the USA. You can see that the ThermaFit are more porous than its competitors (discontinued Flents Quiet Please and 3M Classic), which makes for increased comfort (less surface area in ear canal) and less sweating through better breathing. Less sweating also means that the ThermaFit don’t fall out easily.

I find the Mack’s in-ear tension very soothing. They are shorter than the 3M Classic, and hence you can lay optimally on the side with them. The longer 3Ms are more for job sites in my opinion, and the Mack’s better suited for sleep.

As to sound reduction: varies with insertion depth…the deeper the better. Upon inserting the ear plug, make sure you roll/squeeze them properly, then raise the ear with the other hand while pulling it back from the head: back and up! This ensures the perfect seal.

Rating is rating, and any ear plugs rated at 29 dB insulate the same…there may be slight variations depending on the noise frequency to be blocked and on the fit in the individual ear canals.

None of these works perfectly against a 110 dB leaf blower (obviously not, at 29 dB NRR), they just may round the edges somewhat. For 100% results, you may have to add a noise cancelling headphone like the Bose QC35. I tested the combination of the Mack’s with the older Bose QC15, which reduced my neighbour’s aggressive 2-stroke weed wacker noise to zero.

Are the Mack’s ThermaFit an adequate Replacement for the Flents Quiet Please?

Strictly yes. You cannot put a newspaper between the discontinued Flents and the Mack’s. The Mack’s have better porosity, but the dimensions are essentially the same.

Concluding Remarks

Mack’s ThermaFit ear plugs are as good as it gets for me. They are my new preference for overnight use. I wished they would be more easily available in Canada, too.

Have a good and healthy sleep!

Until next time…quietly yours…and keep on listening!

The post MACK’S ThermaFit Soft Foam Ear Plugs Review appeared first on Music For The Masses.