Lowyat.NET: Latest topics by ClieOS

[REVIEW] Edifier W855BT

ClieOS — Mon, 06 Mar 2017 21:00:37 +0800

If you ever did any kind of research when shopping for a PC’s loudspeaker in recent years, then you will know Edifier is one of the biggest name around. Though they did purchase the world famous electrostatic headphone maker Stax back in 2011 and seems to have finally decided to gear up for the (then and now) blooming headphone market, their headphone offering remains mostly as a side business to their core loudspeaker business even till these days. To be frank, having reviewed the fairly good but not exactly remarkable H850 some 3 years ago, I wasn’t really expecting a lot when I was given the chance to review their new wireless Bluetooth headset model, the W855BT, thinking it might be just another less-than-serious effort. Oh my, how wrong was I.

Spec
Bluetooth v4.1
NFC supported
Wireless Range: about 10m
Supported Profiles: HFP, HSP, A2DP, AVRCP
Codec: SBC, APTX
Frequency Response: 20Hz ~ 20kHz
Transducer: 40mm Dynamic
Impedance: 32ohm
Sensitivity: 98dB
MSRP: USD$150

Packaging, Accessories and Build Quality
W855BT comes in a classic if not rather typical of a paper box. There is really nothing to be said about the box itself except that I noticed a slight oddness - the picture of the headphone is showing its back instead of its front. I know a lot of people simply won’t bother reading manual and even marking of any kind - so there is a good chance someone will just wear the headphone backward (where left side is on the right and vice versa) and might not get as good a fit on the ears as it can be, which could very well degrade the SQ. Of course, this is really not that big a deal and I could very well just overthinking it.

Accessories include a hard case, a USB cable for recharging and a 3.5mm-to-3.5mm stereo mini-jack cable, which allows you to continue to use W855BT as a regular wired headphone in case when the battery is drained. However, it will only works as a pure headphone instead of a headset when used in wired mode as the cable itself doesn’t support a mic, though you can easily find an aftermarket that has a mic built-in. Lastly, I do hope Edifier had have included a soft pouch as well. The hard case is really nice, but it is also a bit bulky to put into tight space like a back pack and when you want quick access / storage.

Build quality is where W855BT surprises me the most. Consider that the Edifier wired headphone flagship, the H850, has a rather bland design – the W855BT in contrast looks absolutely positively luxurious - the faux leather doesn’t look nor feel cheap in any way, the plastic ear cup has a decent glossy piano finish and the silver arm on the headband are all very well polished aluminium works instead of plastic. While the ear cups don’t have a collapsible / foldable design, it does offer enough swing on the arms to sit comfortable on my head. However, W855BT is certainly not perfect either – one minor complaint I have is the remote control that built into the right side ear cup – It has NFC for quick connection to a source (smartphone for most cases), there is a central button for play/pause and volume up/down on both side of the central button (*volume control only applies to the headset and is independent of the source, which can be a good or bad thing depends on your habit. I will suggest you max out on your source volume and use W855BT’s volume control instead). However, where is the next/previous buttons? There is more than enough space on top/bottom of the central button to implement them and they should be quite easy to do as well (as it is almost universally supported by almost every Bluetooth chipset out in the market). It just doesn’t seems logical to skip such basic a function. Also, the volume buttons are rather shallow and don’t feel very clicky. Sometime I can’t tell whether they are pressed or not when there is no music playing. But these isn’t that big a deal since you can tell the volume has changed while music is playing. All and all, despite these minor issues, the W855BT still looks and feels akin to what companies like Sony would have easily sold for double or even triple the price tag, and that’s saying a lot for the W855BT.

Sound Quality
Of course, it doesn’t matter how a headphone looks if it doesn’t perform. Bluetooth has always had a less-than-stellar reputation since its early days of existence. The preconception is bad enough that many headphone user simply dismiss Bluetooth as a whole without giving it a fair trial. However, the overall SQ that a well implemented modern day Bluetooth headset can offer these days has far exceeded those of the yesteryears, and I dare to say even the most serious of headphone user will sure to be impressed by some of the best offering on market todays. Now going back to the topic of W855BT - it comes packed with aptX codec that will give better transient and transparency than the basic SBC (SubBand Codec) used on normal Bluetooth audio. However, it does require that the source is aptX compatible as well. If you don’t know what aptX is – it is basically a near lossless codec used to communicate between the headset and its source that is superior sounding to SBC. As aptX is currently owned by Qualcomm, the most popular smartphone processor supplier around, it is also getting widely adopted in the market. Many audiophiles digital audio player (DAP) manufacturers have also began to support aptX on their newer line of DAP in recent years. So if you ever wanting to buy a Bluetooth headset, be sure to consider one with aptX support first.

So how does W855BT actually sound in Bluetooth mode? The first thing to note is that, despite having a close numbering scheme to its wired elder siblings, the H850, the two are quite different in presentation. H850 is a neutral, if not sterile sounding headphone that perhaps best suited for monitoring purpose; the W855BT on the other hand is more vivid and dynamic. But don’t get me wrong and think W855BT might be very coloured sounding – I will still consider that its overall frequency response and balance to be close to neutral, but it is not sterile for sure. Bass is just about neutral in quantity and with very good impact and depth. Definitely not something for bass head but otherwise you shouldn’t be disappointed. Mid is close to being neutral in quantity as well, but with a small hint of sweetness so vocal doesn’t sound dry in anyway. Treble has good extension with decent sparkle and micro detail. Lower treble / upper vocal does however have a little more highlight – not enough to be called sibilance, but more of a slight brightness. Soundstage isn’t the widest ever, but still above average for a closed design.

While quite good sounding on its own right, does W855BT stand up to other similar Bluetooth headset on its price range? Having been a lifelong fan of wireless audio, I also have Sony MDR-XB950BT (MSRP USD$199) and Pendulumic Tach T1 (MSRP USD$249) in my collection, where both do support aptX and should offer some quick contrast. In comparison, MDR-XB950BT is definitely more on the smoother and warmer side of the presentation, which shouldn’t be surprising since XB stands for Sony’s ‘eXtra Bass’ series of headphone that is aimed for bass head. With one press on its ‘bass boost’ button, the MDR-XB950BT can pump out an incredible amount of bass. However a fair warning is that it is really not for any listener that has any sense of accuracy in mind. It is a pure bass, pure head shaking fun kind of headset. Tach T1 on the other hand has more a mild V-shaped sound that offer a balance between being fun sounding and still having some sense of accuracy. It also has a small size for being an on-ears design rather than an over-the-ears like the other two, but the smaller ear cups do somewhat restrict the soundstage – still very good for a closed on-ear headset, but definitely not up to the same level of the other two. Besides that, the only real downside with Tach T1’s sound is that, due to its more V-shaped presentation, it can get a bit edgy on the lower treble on higher volume. Keep it on lower volume however, it will behave nicely. Out of the three, my preference goes to W855BT for overall performance and balance. Tach T1 is a close second while MDR-XB950BT will only serves better with bass head. The only aspect that I think both MDR-XB950BT and Tach T1 are better than W855BT is that both have full set of remote control function built into the headset.

From left: Sony MDR-XB950BT, Edifier W855BT and Pendulumic Tach T1

Last but not least, how does W855BT sound in wired mode? With FiiO X5III (which has aptX support) as source, I listened to W855BT both with Bluetooth and with the included 3.5mm cable. General wisdom usually will say that a direct connection is always going to be better than a wireless connection. But in the case of W855BT, I am not sure I’ll agree. In wired mode, W855BT seems to lose a decent amount of its mid-range body and thus a big amount of its musicality. Between the two, I am definitely finding that the Bluetooth mode is more pleasing to the ears. Regardless, having an extra option to use W855BT in wired mode is never a bad thing.

In Sum
Rumour and speculations have been circling around Edifier’s headphone business for years, and finally now the company really has something to show for. While the W855BT isn’t exactly high end by any mean, it did show that Edifier has put in some serious effort this time around. If they can continue the good works, who to say they won’t be a force to be reckoned with in a couple of years? For now, if you are planning to spend US$150 for a wireless headset, W855BT is certainly a strong contender.

A thanks to Edifier Malaysia for the review sample.

[Impression] Snugs Custom Eartips

ClieOS — Fri, 17 Jun 2016 09:01:40 +0800

Snugs is a UK based company that specialized in making silicone soft-shell custom eartips for IEM. Though they don’t make custom IEM themselves, they do offer a couple of IEM models that you can order with the custom eartips included, from the cheapest GBP $159 SoundMAGIC E10S to the most expensive GBP $1K Shure SE846. They also offer soft earplug if isolation is what you need. But if you already have a pair of IEM, they can also make just the eartips themselves, starting around GBP $139 if it is one of the compatible model. You will however need to check with them on what option is available to which IEM. If your IEM isn’t on their list, you might need to pay an extra GBP $30 and send in the IEM in order to make a new template for your IEM. You will also need to send in your ear impression of course. Those in some part of UK might be able to get this done via a digital ear scanner which save you the trouble of sitting through the typical silicone ear impression casting process. You can also get a digital scan from Jaben Singapore as well. But if you can’t get a digital scan, a normal impression done professionally will do a fine job as well.

I opted for a pair of half-shell for my ER4S since it is pretty much my reference these days (which is also good news as the new ER4SR and ER4XR should also fit these eartips). The turn-around time was only a couple of weeks, which actually is pretty quick consider I didn’t use digital scan but went for the old silicone impression method, then the impression had to be sent from Jaben Singapore to UK followed by the finished eartips themselves from UK to Singapore. Of course - as with any custom work, the turn-around time greatly depends on shipping time as well as how fast the lab can build them.

ER4 with custom cable and Snugs

As far as build quality goes, it is just about perfect. I picked transparent for both sides so any flaw will be easily spotted, but there isn’t any. The surface is smooth to the touch and there isn’t any bubble inside. They also fit my ears very snugly (*put intendedJ) on the first go. But like any new silicone eartips, these custom can be slightly harder to slide into the ears due to friction when they are new. In that case, you can use the included hearing aid lubricant to ease the process. Once you use the eartips long enough, it will eventually absorb a bit of your skin oil and make the process a lot easier. Sometime a tiny bit of baby lotion will also do the trick. After the initial break-in, these eartips slide into my ears pretty easily. Though I have been quite used to custom IEM at this point, there is still no deny that soft silicone is definitely better than hard acrylic, especially after hours of use.

From left: Hifiman RE1000, ER4 with Snugs and Lear LCM-5

Like any change of different eartips, these custom eartips also alter the sound of ER4 just a tiny bit. I use mostly the same stock tri-flanges on my ER4 for the last few years and so it has long pass its break-in period. If anything, it sounds slightly more open than a brand new pair of tri-flanges - but otherwise it keeps to the highly detail and transparent, if not sometime being referred as the ‘sterile’ Etymotic’s house sound. The custom Snugs, in comparison, brings a tighter and deeper bass response and a crispier upper notes. This is perhaps due to the fact that Snugs has a tighter fit (*which improves lower end) as well as a wider bore size (*which helps upper end) when compared to the tri-flanges. While it is definitely different, I won’t call it a good or bad thing. Like any eartips rolling, it is all about what you are looking for as a listener. Someone’s good eartips might be another person’s mediocre. For example, I don’t really enjoy Westone STAR or SpinFit even though many stand by them. However, it is still something to keep in mind if you even wanted to get a pair of Snugs or any custom eartips – not necessary that you will get the same effect since you might not be getting them for ER4,but for something else. However, it will definitely change the sound, just more or less. Then again, I’ll have assumed the main reason for custom eartips should be about comfort and isolation, which Snugs will deliver in ace. Overall, I’ll say I am quite satisfied with the experience.

A thank to Snugs and Jaben Singapore for the sample.

Last but not least, here is something you don't see everyday - a custom made transparent ER4 with Snugs.

MassDrop x Hifiman RE00

ClieOS — Sat, 11 Jun 2016 11:36:05 +0800

Got this RE00 sample from fellow Head-Fier CEE TEE who is currently working for MassDrop. If you ever loved RE0 or missed out on the chance to try one, this is very much a second chance that is well worth taking.

RE0 on the left, RE00 on the right.

Sound signature wise, the new RE00 isn't totally identical to the old RE0 but I'll say they are at least 90% of each other. The main difference is that the new driver is slightly more sensitive then then old RE0 and sound just a tiny bit warmer. Still, they are both neutral and detailed in presentation.

Mook Headphone Festival Singapore

ClieOS — Fri, 04 Dec 2015 22:28:11 +0800

Free admission with online registration:
https://www.eventbrite.com/e/mook-headphone...ets-19310666724

The new Shure KSE1500 electrostatic IEM as well as the new Sennheiser Orpheus will be there, so don't miss it.

Head-Fi.org's CanJam Singapore 2017

ClieOS — Wed, 14 Oct 2015 21:45:48 +0800

Official 2017 thread here: http://www.head-fi.org/t/820129/canjam-sin...arch-11-12-2017

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» Click to show Spoiler - click again to hide... «

[Impression] Edifier H850

ClieOS — Mon, 10 Mar 2014 21:32:17 +0800

When it comes to Edifier, they are best known for their desktop PC speaker range and acquiring the prestigious electrostatic headphone company Stax. But just because they now own Stax doesn’t mean they are going to negate their own headphone production line. The current top-of-the-line H850 can be found online for just under US$60, or locally for about RM120. Okay, maybe not quite the Stax level of headphone solely judging by the price, it still swings out quite a heavy punch in the feather weight class.

Spec
Rated Power: 50mW
Frequency Response: 20Hz~20kHz
SPL: 96dB
Impedance: 32ohm
Cable Length: 2M

Accessories and Build Quality
The packaging is fairly plain, with the only included accessory being a 3.5mm to 6.4mm adapter. For the price, I guess it is hard to fault Edifier. But I do really hope there is an extra set of short cable. The included 2M cable, while decent, is a bit too long for outdoor. The cable has a removable, lock-in 3.5mm plug design to the left earcup but due to the lock-in mechanism, it is unlikely you will ever find a suitable shorter cable.

The overall build quality is quite good, but the design is a little bland. It looks just like most other generic headphones. The headphone itself is pretty light and overall quite comfortable for long hour usage. Not much to really complain nor praise about.

Sound Quality
The H850 is tuned by Phil Jones of Phil Jones Pure Sound and founder of Acoustic Energy (plus a few other well-known speaker companies too). In fact, Phil Jones has been working with Edifier on several speaker products so far and even offered H850 rebadged and sold as part of Pure Sound’s line-up for bass guitarist. That kind of makes sense as H850 does quite well with string instrument, especially when it comes to micro-detail reproduction.

To put it short, H850 is a bit on the lean and clean side of things. It is mostly neutral with a hint of brightness on the top. Bass extends well, only missing the very deep end just under 30Hz. Quantitatively it is closer to neutral so bassheads need not apply. Mid is clean as well, neither too sweet nor too dull. Lower treble can be a little sharp at time, almost borderline sibilant if you push the volume too high. Higher extension on the other hand is quite excellent, with a good amount of sparkle no less. Soundstage is quite good, better on the width than depth. Consider the price point, H850 has surprising very few flaw in its overall presentation. If I have to pick one thing – it will be that H850 can be just a little too lean at time. But it is curable if you give it just a little bit of bass boost. A mere +3dB into sub-bass is enough to inject the missing texture back into the mix and makes H850 sounds much more musical. While H850's sensitivity is a little on the lower side, it doesn’t need extra amount of power. A warmish amp with bass boost will however work wonder. JDS Labs C5, FiiO E12 and especially digiZoid ZO2 go really well with H850. But if you are really into a more neutral presentation, H850 is already good at it is.

Sum up
With a street price just under US$60, H850 is an excellent bargain. While it is not exactly Stax, I can still see it competing easily with headphone that doubles its price. It is an excellent effort from Edifier and well worth recommended for those with a tight budget in mind. As I was searching around, I even found a local deal for just US$30 / RM99 – that’s pretty much a steal! Do check around as you might be able to pick one up on the cheap.

A thank to Edifier Malaysia / Inter-Asia for the sample.

[REVIEW] AiAiAi TMA-1

ClieOS — Tue, 23 Aug 2011 14:47:04 +0800

First, I’ll like to thank AiAiAifor the sample and bro E1 - AKG for the arrangement. Back before the release of TMA-1 just over a year ago, the Danish based AiAiAi was generally recognized as yet-another-life-style-headphone-brand. We have seen companies that offer nothing but bold, mostly aesthetic design which serves to conceal the lack of sound quality before, and the general consensus for any self-respected audiophile is to avoid anything that looks too flashy: Yes, pick the headphone with the old, ugly design. After all, what else would an ugly headphone have to offer beside sound quality? But with the TMA-1, AiAiAi set out with a different approach to combine good design and sound quality into one product that doesn’t offend both the eyes and the ears - a headphone with style and sound that both DJ and audiophile can approve of.

Spec
Transducer: 40mm Closed Dynamic
Impedance: 32±15% Ohm
Load Rating: 0.1W
Frequency Response: 20 to 20.000 Hz
Total Harmonic Distortion: <0.3%
Sensitivity: 110±3dB
Weight (w/o cable): 190g

Packaging, Accessories and Build Quality
If you are the geeky type like me, of simply a fan of the Space Odyssey movie / novel series by Arthur C. Clarke, you will know that the name ‘TMA-1’ originally stands for “Tycho Magnetic Anomaly 1”. It is a black monolith like machine that was left long ago by an advanced alien species in the Tycho crate on the southern lunar highlands with the main purpose of encouraging intelligent life form’s evolution. Drawing from the same concept that a simple looking device that features great power and sophisticated functions, the similarly named AiAiAi TMA-1 is taking the concept of a DJ headphone back to its basic, then evolve the form and function together to create a DJ headphone that is simple and elegant, yet also practical and well made.

Leather earpads (on TMA-1) and synthetic earpads.

FiiO E11 Portable Headphone Amp

ClieOS — Thu, 05 May 2011 21:03:05 +0800

Warning: This is just the initial impression."Take it with a grain of salt"

So, this little thing arrived just a few hours ago. So far I have only managed to listen to it very briefly and did some quick A/B with other ultra-portable and sub-$150 amp I have. I won't think it is fair if I went straight to the 3MOVE and Stepdance - those will be left for the final review

First, I switch it to low current mode (the switch is under the battery), set it to low gain, not bass boost. Then I did a quick listening via RE0. My first impression is...

» Click to show Spoiler - click again to hide... «

Then I flipped the switch to high current mode, high gain. My impressive goes like...

» Click to show Spoiler - click again to hide... «

Yep, it is true - that is my impression. How does FiiO make this happens is beyond me. I am just glad it is what it is. So, I will put some time on it before I will write my final review, possibly going to take a week or two. I will also source a battery with bigger capacity just see if E11 will take it, and that will take time as well. Here are my last piece of advice...

» Click to show Spoiler - click again to hide... «

Enjoy another photo for now.

[REVIEW] Sunrise

ClieOS — Thu, 26 Aug 2010 20:07:57 +0800

First, I will like to thanks Sunrise for the samples. Many of you might not hear the brand before, but Sunrise has been a fairly well known OEM in the China headphone business. After Yuin’s success on the higher end earbuds market in 2005, Sunrise followed with its own SR-I and SR-II models later on. Though they never went as big as Yuin, the brand did get praised for having good price / performance ratio. After the initial success with their own brand, the company seems to take on a different direction and went full time on OEM business for the last few years. That’s till just a year ago when they decided that it is time to come back to the market with not just headphone, but a new website and an array of products (which hopefully we shall see more of them in time). One thing they do intend to clarify with the re-launch of the company is their origin: They are actually a Vietnamese company though they have their factory in China. Regardless, it is the 4 earphone models in this review that we are going to focus on for now.

Sunrise's website: Sunrise-audio.com (new, not available yet) | Sunrise-hifi.com (old, outdated)

SPEC
AS-Miss: 16 ohm | Sensitivity: 115 +/- 3dB | Cable Length: 1M | $20-$25 (depends on seller)
AS-Feeling: 32 ohm | Cable Length: 1M | $30-$40
AS-Charm: 150 ohm | Cable Length: 1M | $65-$85
SW-Xcape: 32 ohm | Cable Length: 1.2M | $70-$80

Packaging, Accessories and Build Quality
Packaging is pretty simple though the printing is quite beautiful. The box is about the same size as that of Yuin PK- or CrossRoads HR- series. Inside is plastic packaging sponge holding the hard case which has the earphone. The hard case is similar to that of SoundMAGIC but instead it has Sunrise logo sticker as different from SoundMAGIC’s clamped in metal plate. The sticker does fall off from time to time but no biggie. Accessories are similar between the three earbuds which are mainly regular and donut foam pad. As the flagship, Charm comes with more foam pad as well as a 3.5mm to 6.5mm adapter. For Xcape, there are 3 pairs of single flanges (S, M, L) as well as two pairs of UE style bi-flanges. Build Quality wise, the 3 earbuds is decent though nothing spectacular to say about. The housing is similar to the Yuin PK- and HR- series. So if you own or have seen a Yuin before, Sunrise earbud will not be unfamiliar. The only real downside is the cable length at only 1m. It would have been better to be around 1.2m like the Xcape. In contrast, Xcape seems to have a better build over all. The housing is unique to Sunrise, the strain relief seems more properly designed and the cable just feels a little better than its earbud cousin. Isolation is about average, enough for daily commute.

One thing to note is that there is almost no real spec being listed on any of the 4 models. While spec can be misleading (especially for those who don’t know what it means as well as for those who over-read it), I still think it needs to be included. Hopefully we will see some actual spec when Sunrise has their website up and going.

Sound Quality
As usual, all the earphones have received no less than 50 hrs of burn-in before any serious audition. The whole series is said to have tune toward iPod / iPhone with a warmer, more mid centric sound to balance the colder sound of Apple’s DAP. To make the review more relevant, the review gears are iPod Nano4 headphone-out as well as line-out fed to Meier Audio’s Corda 3MOVE.

“Miss” is the entry model of the whole line-up that meant to be a decent budget choice replacing the stock earbuds on most DAP and over-priced big brand. One of those earbuds is the Apple iBud. I never do find iBud a bad stock earbuds, at least not the second (current) generation iBud, which is said to be a tuned version of the old Sennheiser MX500 by the same OEM (and they certainly sound quite close). iBud has a fairly clean and light sound with a pretty decent bass slam. In comparison, Miss is warm with a pretty full sounding mid. The vocal is much sweeter than iBud but it isn’t quite as resolving on each note. The sharper sounding iBud might sound just a tad better at first, but in the long run the smoother, warmer and pretty much fatigue-free sounding Miss could be a good alternative for those who are looking for a more relaxing sound.

“Feeling” is the next step up and aims to challenge the pretty popular PK3. PK3 has a very lively and easy going sound signature which is great for casual listening but it can also be a little edgy and lose its bass body when it is used without foam pad. Feeling on the other hand is best with donut foam (in fact, all 3 models are best with donut foam). The overall sound is more balance than PK3, though also not quite as lively. It is smooth with a good body while retains a decent amount of detail. The strength of PK3 is in its treble and bass while the strength of Feeling is in its warm mid and an overall non-intrusive sound signature.

“Charm” is top of the line for Sunrise earbuds. With 150ohm of impedance, it is obviously meant to be driven by an amp and a challenger to PK1. To be frank at first, it is not an earbud that will best PK1, but it is good enough to be one of the best earbuds I have ever heard. Compared to the almost effortless PK1, the warm and smooth sounding Charm does sound a little bit ‘boxed-in’ and doesn’t show quite enough air and soundstage to beat PK1. Though purely on mid alone, Charm’s fuller body and better texture do give PK1 a good fight. The smooth and warm signature of Charm, which seems to be shared with in the whole line, is pretty much a double edge sword. It gives the series a very likeable, non-intrusive sound, but also limits air, soundstage and the overall detail. They are best with a cold sounding source such as the s:flo2 and iPod / iPhone to a great extent, where the warmness is more balanced out and the synergy is at its best.

“Xcape” is perhaps the crown jewel of Sunrise. Originally being announced as the SRX a year ago, the newly tuned version is nothing you want to escape from, but lost into. The overall sound signature is neutral with slight warmness. Bass is not large, but shows present and impact when needed. Mid is slightly full and gives a slightly sweet and well texture vocal. Treble is well extended and smooth while retains a decent amount of sparkle. Soundstage is about average. While nothing seems to stand out, the quantity of each elements are well balanced to make this IEM neither overly exciting nor too boring; In other words, it does no wrong. It has a good portion of everything and blend them well, but excels on none – Don't get it wrong: Being good not for one particular reason isn’t something that common in the IEM world, but that is what the Xcape is able to achieve.

Verdict
It is hard to put a verdict on 4 different earphones that target at different level of users, though it is still very obvious that Sunrise does indeed have very good price / performance ratio with all of their products (and perhaps more true to those who reside in Vietnam since Sunrise is selling their products at cheaper price in their homeland). For the outstanding value, I will recommend Xcape with a Sonic Diamond Award to anyone who is looking for an IEM with nothing more than just plain good sound. For those who are interested in rating, check out my earbuds round-up page and IEM list.

Note: I am not sure where you can buy these earphones online now, but as I was told some should pop up on eBay soon. Hopefully Sunrise will be able get more dealers outside of China soon as well.

[REVIEW] Hippo Gumstick

ClieOS — Wed, 18 Aug 2010 21:24:03 +0800

First, I’ll like to thanks Uncle Wilson @ Jaben.net for the sample. To make it clear, Gumstick is OEM’ed by HiSound, the maker of Rocoo-A and quite a name for hot topic these days in the forum. Come with a class A biased amp inside, the main difference between the two models is that Gumstick seems to be more ‘tuned down’ (in a good way). For starter, the firmware operation seems to be simpler with lesser selection of EQ to play with. Also, the hissing problem associated with the Rocoo-A has mostly been fixed. We will go into more detail about both issues later on

Spec
Class A amp
Dimensions: 75x27x15 mm
Weight: 36g
Screen: 1 inch OLED with 3 lines of text
Price: US$99

Main Features:
Codec support: MP3, WMA, AAC, APE, FLAC.
4GB internal and uSDHC slot
FM radio with auto scan
EQ: normal, rock, jazz, classical, pop, bass, user (5 bands: 80, 250, 1k, 4k and 12kHz +/-12dB)
4 playback modes: normal, repeat one, repeat all, shuffle.
Voice / radio recorder
Text and lyrics reader
Mass Storage Class device (plug and play)

Packaging, Accessories and Build Quality
The overall packaging is a bit dull, but typical of Hippo. There is almost no real spec being listed. Things like output power and battery capacity / life are all unclear, though not a surprise since the OEM HiSound didn’t really release much spec about their own Rocoo-A either. Even though listed spec on most electronics can be a little overstated and misleading, it is still a good baseline to understand the basic functions and features. In this case, I do hope to see more published information from HiSound in the future. The only accessory in the packaging is the USB cable Build quality is decent though nothing spectacular to speak of. It is the same basic design as HiSound’s own Rocoo-A and Cube C30. The main difference is the gunmetal blue color which does look a little better than the silvery gray color of Rocco-A. The gunmetal blue surface is fairly reflective which means operation under direct sunlight is fairly challenging. The main body of the player is made out of plastic and the quality is decent. The only complaint I have is the buttons can be a little unresponsive at time and require a second press, but in general they response good enough. For those who plan to use the uSDHC slot, you will be happy to know that the uSD card sits fairly flush in the slot and it is not difficult to insert or remove.

Navigation
Basic navigation is very simple and straight forward just like most DAP of this kind, it just take some time to read the manual and find out which key to press. It is a MSC device so any PC should just recognize it as removable memory storage. The player doesn’t support any sorting via tag (in fact, it doesn’t seem to support tag at all except displaying the artist name when playing music), so it is best just to put music album in their individual folder instead of one big folder where it can be a little hard to find the album you want to listen. External memory is also treated as an individual folder Some of the neat tricks in the player include a hidden clock in the main menu (press A-B button in main menu) and quick EQ change (press and hold A-B button when playing music). There is also the common FM radio (with recording function), voice recorder, and some less useful function such as TXT reader and lyrics reader which isn’t much to look at in the tiny screen. The play / pause button (which is the lower right corner of the gunmetal blue front plate) serves as power button in long press, while the M button (upper right corner) is ‘select’ in short press and ‘manual’ in long press.

The firmware isn’t perfect. First, there is a glitch that shows ‘Rock’ EQ when you turn on the player, even though it is actually still on the last EQ setting you have. You can just ignore it as it is. Second, there are reports on playback issue with FLAC file, mostly on FLAC with odd tag or questionable origin. Just so you know, I haven’t tried any FLAC or APE on mine as I don’t intend to use a 4GB DAP for lossless music. For me, 320kbps is more than enough for portable use and so far I have no problem with any mp3 or wma I put on the player. Thirdly, while not really a glitch, the player resets its volume to 15/31 each time after restart. Since the output is actually quite high on the Gumstick, I would think 10/31 or lower makes better sense as you won’t want to blow your eardrum out with high sensitivity headphone. Of course the better thing will be for the player to remember the volume after restart.

Hiss
There is a very low level hiss in Gumstick. It is so low that only my SE530 is able to pick it up when no music is playing and it is lower than the screen hiss on s:flo2. The hiss is completely undetectable on my other IEM.

Battery Life
On high quality mp3 and wma with continuous playback, the battery lasts about 8 to 12 hours depends on the volume setting. Not too bad for a class A biased player.

Sound Quality
So what does it means to be class A biased and what is the main benefits? In simple term, it is basically forcing the opamp’s output to ‘turn on’ all the time regardless of whether there is an input signal or not. This reduces the thermal variation and eliminates crossover distortion caused by internal switching, which improves the opamp’s performance. The downside about class A amp is that it is not very energy efficient since it still require power even in idle. One of the big selling points of Gumstick is that it has a class A amp inside.

Judging from the PC connection, Gumstick ‘seem’ to be based on SigmaTel chipset (which used to be popular choices for small DAP as well as onboard soundcard for a few big brands, though the brand has became more like an empty shell after being sold to FreeScale). The interesting bit is that the Rocoo-A is based on Rockchip solution, while Cube C30 is actually SigmaTel based. There were some heated discussion between supporters (in Chinese forum) on both companies a while ago on these two very similarly looking players, and it seems (and very much unconfirmed) that Cube could very well be doing some OEM work for HiSound as well. So perhaps a wild guess will be that Gumstick is a hybrid of the two with a SigmaTel core like the C30 and a class A biased amp from Rocoo-A.

For what I know about Rocoo-A, it is said to have an 80mW output. If Gumstick is based on the similar design, it is safe to assume the output will be similar as well. From comparison done with Fuze (60mW output), it does seems to support the theory. What this means is that Gumstick will likely to do a better job with harder-to-drive headphone compared to Fuze.

EQ function is passable on the Gumstick. I didn’t play with it too much since I really don’t find it much of a necessity.

For comparison, I listen to Gumstick side-by-side with Fuze and s:flo2 with RE-ZERO, RE0, ER4S. The choice of the three IEM reflects the three levels of driving-difficulty: easy, a little hard, and harder.

With low impedance, high sensitivity IEM like the RE-ZERO, Gumstick offers no distinctive advantage over Fuze. The main difference is on the sound signature. Gumstick sounds a little more extended and cleaner on both ends with sharper treble and a quicker bass note and a slightly more forward mid. Fuze is more rounded, smoother, and fuller on bass to lower mid. The only place Fuze does better than Gumstick is on soundstage and instrument separation, but the difference is not enough to call for a winner. S:flo2 on the other hand sounds very different from the other two. The uniquely clean and cold headphone-out sounds more transparent than the other two, though synergy wise it is the worst match (among the three DAP) to RE-ZERO’s cold and analytical sound signature (especially if you have the v2.3 firmware on s:flo2). However, s:flo2 offers much better soundstage and micro detail which sets itself apart from Gumstick and Fuze.

With RE0, the difference between Gumstick and Fuze is much more apparent. I have been listened to RE0 with Comply TX100 for a while now and this combination actually requires a little more power than RE0 with silicone eartips. The earwax filter in TX100 increases the acoustic impedance of RE0 (which adds some really enjoyable bass into the mix) but also make the treble just a little dull when it doesn’t receive enough power. Gumstick sounds much more controlled with better texture across the whole frequency and more impactful bass compared to Fuze, which sounds more compressed where the bass impact is weak and mid is a little muddy. S:flo2 continues to be the best sounding of the three with the best dynamic, texture, extension, transparency and soundstage among the three. However, s:flo2 bass just sounds a tab less in quantity compare to Gumstick. Overall, S:flo2 also matches better with RE0 than RE-ZERO.

With ER4S, The observation is similar to that with RE0. Fuze is still the dullest and more compressed sounding of the three. Gumstick is better, but the treble and dynamic performance are not quite as able to keep up with S:flo2 as in RE0, though overall it is still doing a pretty fine job consider it is only half the size of Fuze. S:flo2 drives ER4S pretty well with its headphone-out. I didn’t detect any particular lacking in whole frequency though as noted above, the bass quantity is adequate but Gumstick is pumping out more bass in comparison.

Overall, Gumstick sounds a little cleaner, more neutral and transparent than Fuze, but there is still a fainted sense of warm in the mid. With a better headphone, it is able to reveal texture and retrieve micro detail better than Fuze headphone-out and only get outmatched by Fuze when Fuze is hooked up with iBasso T3D via custom LOD. Still, both of them are not quite able to compete with the s:flo2 though given the hardware limit, it should not be a surprise at all. That being said, it is nevertheless an amazing feat to see such a small DAP able to output so much power and perform so well.

Verdict
So Gumstick doesn’t turn out to be equal or better than s:flo2, but how much could you expect from a DAP that is less than 1/3 of size and weight? For those who are looking for a memory stick style DAP with maximum portability and high quality sound, Gumstick is an option well worth the consideration.

[REVIEW] Creative Aurvana In-Ear2

ClieOS — Tue, 17 Aug 2010 00:26:10 +0800

Once upon a time when you mentioned ‘premium audio’ in the computer world, the name ‘Creative’ is what you would be referring to. Nowadays the name seems to get somewhat replaced by Apple. To be fair, I do believe Creative still has the ‘tech’ in hardware to be an important character in the computer-related audio business (especially since computer audio is slowly eating away the share of transitional audio hardware, i.e. CD player). But on the software side (more referring to brain power, R&D, marketing, software design), Creative has been quite lacking compared its biggest DAP rival Apple. It proves that you don’t need to have the best hardware around to be successful; just some good and fresh ideas are enough to get your business flying straight to the moon. However, once in a while Creative does surprise us with some really good products. This time, it is the Aurvana In-Ear2.

The Aurvana brand is Creative’s attempt to penetrate the audiophile headphone market. The first product under the Aurvana brand is the original In-Ear, which has been largely overshadowed by other big brands. The new In-Ear2 is not intended to replace the original In-Ear, but more of a better model that is offered alongside. The original MSRP of In-Ear2 is actually around US$110, which is much less attractive for a single balanced armature based IEM. But as the model being released internationally, the price has been dropped globally to US$100 (and even slightly lower if you pick one up in Singapore, Creative’s homeland). The decision to keeping the In-Ear2 within the $100 price range is smart but still seems a tough sell when other single balanced armature IEM such as the Sherwood SE-777, Fischer Audio SBA-01, and SoundMAGIC PL-50 are all well below $100. So, does In-Ear2 deliver?

Spec
Frequency Response: 15Hz-16kHz
Impedance: 42ohms
Sensitivity (1kHz): 110dB/mW
Cord Length: 1.2m Oxygen-Free Copper cable
Input Plug: 3.5mm stereo gold-plated miniplug
Net Weight: 11g (without packaging)

Packaging, Accessories and Build Quality
Packaging is decent. It is typical paper box with windows on the front and back showcasing both the earpieces and the hard case. Other accessories include the cleaning loop/pick, airplane adapter, and six pairs of silicone eartips (S, M, L, two pairs each). The nozzle dimension is also identical to Shure, so the common Shure’s eartips (includes the black foam, a.k.a. olive) as well as Comply T100 should fit In-Ear2 fairly well. The included hard case is very well made, definitely one of the best I have ever seen in the sub$100 price range. Some very well written manuals are also included in the package - this is often a good indication for good build quality since it means the company actually does invest time in getting the detail of their products right.

Build quality of the In-Ear2 is very decent. Most of the IEM are made out of metal (except for the cable and strain relief of course). The back of the earpieces looks to be vented and I can almost make out the back of the balanced armature driver inside. This is a very interesting feature since almost all the BA based IEM I know have either semi-closed (with very small vent) or fully-closed back. In-Ear2 is perhaps the first open-back design I ever see in a BA based IEM. This design seems to give In-Ear2 a unique sound quality, but we will leave this discussion for later on. Microphonics is pretty low which makes it unnecessary to wear the cable over-the-ear (even though you can). Isolation is just a little under average though it should be enough for daily commute in the city. Overall I don’t have any complaint for In-Ear2 – it is well made and packed with very decent accessories, though it is how you would expect from a relatively pricier IEM.

Sound Quality
Having recalled the type of sound signature of the original Creative In-Ear, the feeling of what In-Ear2 brings to me seems to be largely the same. It is a kind of noninvasive, fatigue-free, warm and smooth mid-driven sound signature that is well known among Shure’s IEM. Creative, at least for its Aurvana IEM model, is going after the same kind of house sound. It is not that type of sound that will “wow” a person in the first listening. However, it is a sound that will grow on a person and reveal the hidden strength if given enough time. On a side note, the In-Ear2 has an odd impedance of 42ohm. While it is not very difficult to drive, it does require a little more volume from most DAP than average IEM

The open-back design

The overall sound signature is warm and smooth with a relatively full body mid. The listed frequency response is surprisingly accurate. Treble does extend fairly well but micro detail tends to get overshadowed by the warmness and takes a backseat in the overall presentation. Mid is full and dominant with good texture, which is particularly good for vocal. Bass is decent, not quantitatively large but in good amount, depth, and impact while not being too fast – a little more dynamic transducer like instead of balanced armature like. Soundstage is typical not a strong point for IEM with a fuller mid, In-Ear2 however performs better than expected. While there still isn’t enough air (because of the lack in micro detail from treble), the IEM is able to show a good sense of depth as the warmness doesn’t seem to mud up the overall resolution – perhaps this is the benefit of having an open-back design.

Verdict
While the pricing isn’t the most competitive, the overall sound and build quality of In-Ear2 are not lacking. It will serve as a fairly good option for anyone looking for a classic Shure’s house sound around the US$100 price range. Please refer to the list for a complete list of numeric rating.

[REVIEW] Etymotic ER4P / ER4S

ClieOS — Sun, 08 Aug 2010 01:05:18 +0800

To say Etymotic ER4 series is a classic is in itself an understatement. I mean, do any person knows of another IEM model that can be sold for 19 years with minimum change yet still be considered by many to be the golden standard of accuracy? Or perhaps we want to revisit the fact that it is the first ever universal IEM that is made for music with a rated accuracy score based on an industrial first scientific sound quality measurement developed and published by Etymotic? ER4 is without a doubt a living legend and will continue to impress many newcomers in the IEM world. More importantly, the series hasn’t lost its relevancy in the fast growing IEM world. There might be other IEM that can do certain things better, but ER4 is still one of the most revealing, detailed while neutral sounding IEM you can ever listen to. In this review, we will be focus on ER4P and the resistor-adapter-transformed ER4S.

Prelude
As the story about IEM began, it was back in around the mid 80’s that a few rock stars began to invest into the development of IEMS (in-ear-monitor system) for their own hearing sake (with a few more advantages on the stage of course). Marty Garcia, founder and CEO of Future Sonics, is probably the first to complete the system and started the movement of high quality custom molded earphone for stage monitoring. A few years later in 1991, Etymotic answered the call of a more convenient, more universal and accurate monitor that is designed toward off-stage and general music listening, thus born the original ER4 – better known now as ER4B. B is for ‘binaural’, as ER4B is tuned toward binaural recording playback. As good as it is, ER4B is found to be a little too bright for the general, non-binaural recording. So Etymotic retuned the 4B and came out with the ER4S. S is for ‘stereo’, as in your typical 2 channels a.k.a. stereo recording in cassette and CD. Years later when portable audio became mainstream, Etymotic further tuned the 4S to 4P (as in ‘portable’) by reducing the impedance from 100ohm to 27ohm. Though 4P is easier to drive directly from a portable source such as portable CD player or DAP (digital audio player, or ‘mp3 player’ if you like), it doesn’t sound quite as accurate (a discussion later on). That being said, the only difference between 4S and 4P is on the ‘pod’ of the cable where the resistors are housed inside. By simply adding a 75ohm resistor adapter (which Etymotic does sell), you can essentially change the 4P to 4S. Unfortunately you can’t do the same to 4B since it has an extra pair of capacitors in the pod. The earpieces (where the balanced armature drivers housed) are essentially identical between the three models.

Spec
Response Accuracy:
ER•4S MicroPro Earphones: 92%
ER•4P MicroPro Earphones: 86%
Noise Isolation: 35-42 dB
Frequency response: 50-10 kHz ± 2 dB; 20-16 kHz ±4 dB
Acoustic polarity: + electrical = + acoustic
Transducer type: balanced armature
1 kHz sensitivity (ER•4B/ER•4S): 108 dB SPL for a 0.79 V input
(90 dB @ 0.1 V; 100 dB @ 1mW)
1 kHz sensitivity (ER•4P): 108 dB SPL for a 0.2 V input
(102 dB @ 0.1 V; 106 dB @ 1mW)
Impedance (ER•4B/ER•4S): 100 Ohms nominal
Impedance (ER•4P): 27 Ohms nominal
Maximum output: 122 dB SPL
Maximum continuous input (ER•4B/ER•4S): 3.0 Vrms
Maximum continuous input (ER•4P): .75 Vrms

Packaging, Accessories and Build Quality
‘Like a tank’ is perhaps what describes ER4’s packaging the best. There is no extra paper box or blister pack that needs to be threw away. The hard case that houses the IEM is also the packaging, just slide it out from the outer paper warp (where the printing is) and you are ready to go. The inside of the heard case are all foam padded with different compartments for both accessories and the IEM itself. For convenience, there is also a smaller soft pouch for portable use. Other accessories include: shirt clip (goes onto the cable’s pod), extra pair of regular tri-flanges, a pair of small tri-flange for smaller ear, two extra pair of filter and the filter replacement tool, two pair of regular foam tip, two pair of mushroom-like Glider foam tip and one 3.5mm to 6.5mm stereo adapter. ‘Generous’ is how I will describe the amount of accessories.

While the cable has been updated a few times, the basic design for the ER4 pretty much remains the same all these years with small improvements here and there. However, you can pick up a 10yrs-old ER4 and it will still feel almost identical to a brand new one. The simplicity of the design also means there are very few things that can go wrong on an ER4, though degradation due to wear and tear is still unavoidable. The good news is Etymotic has built up a reputation on great customer service. It is often reported that people who found decade old beaten up ER4 in the drawer and sent it in for service not only get the IEM fixed up, but also with minimum charge. This is one of the main reasons why Etymotic still commands one of the biggest fans group in the IEM world with a two decades old products.

The 'pod' on the cable is the main difference between 4P, 4S and 4B.

Perhaps the biggest complaint people have with ER4 is its out-dated look. While the ‘Charismas tree’ earpieces with tri-flange and the cable’s pods might not be the most modern or practical design, it has always been the same for Etymotic’s products. If you really care about styling, then maybe you are not really an Ety-person, as many will say. Beyond the look, the other complaint people often have is the microphonic cable. The cable is quite heavy and the earpieces’ design makes it not good for over-the-ear wearing. While the shirt clip is a help, it is still relatively microphonics compared to other IEM. Unfortunately there is little that can be done to it, even though years ago Etymotic did redesign the cable for this particular issue.

Only area that you won't see many complaint about Etymotic is its isolation. It is either very complex engineering or simply sheer magic that all Etymotic IEM have extremely good isolation, ever better than most foam plug in drugstore. Unexceptionally, ER4 too has the best isolation - perhaps even too good for street use, so bewared.

Side by side with (from left) DBA-02, Triple.fi 10, SE530, e-Q7.

Sound Quality
As usual, the IEM was burned in for a minimum of 50hrs before the review. No noticeable change was detected during the process. However, there are more to burn-in (so to speak) for the Etymotic and I am talking about the tri-flanges here. Silicone tri-flange of this kind (including the similar type by Shure and Westone) often tends to be too stiff and scratchy when it is new. This is why many new user complaint about it and turn the IEM down in first few use. Once it was used for a week or two, the tri-flanges will begin to soften up as it absorbs moisture and skin oil. An old trick is to lubricate the tri-flanges with some baby oil (the no extra additive kind) a few days before usage. Beware that you should only apply baby oil on the flange (where it makes contact with skin) but not on the tube of the tri-flange. This trick should help to break the tri-flanges in faster and provide a more comfortable fit early on.

How would any one describe the Etymotic’s house sound? It is analytical and bright, fairly neutral while slightly on the thinner and colder side, tight and impactful bass that isn’t quantitatively large, resolving and fast which are very typical of BA based IEM. This is the sound Etymotic concluded from different studies done 20 years ago involving the accuracy of sound reproduction. However there were discussions over the year among users on whether such kind of sound really is accurate. I think the answer can be both yes and no. While technically speaking, the flat, neutral Ety sound can be a representation of how sound is ought to be reproduced; the common trend among headphone manufacturers is however to EQ the missing part of the sound and makes it more engaging in order to recreate the speaker-like listening experience. The issue about headphone in general (compared to speaker) is that it doesn’t kick enough air on low bass note to give the listener the same ‘pounding’ as if from a speaker. So the solution is to bump the bass note a little up than what it should have been to simulate a proper ‘feel’. Etymotic on the other hand is perhaps more interested in the proper listening, or the accuracy of their sound, and less interested in the tactual compensation. While the philosophy and principles might be different between the two schools, there is nothing wrong with either ways actually. The important bit is whether the user has chosen the right sound to his/her ears. Hence that is why an Ety fan will always be an Ety fan, and vice versa.

The overall sound signature of ER4P is, as mentioned, analytical, a little on the bright side but not harsh, resolving and fast with slightly upper mid ~ lower treble focus; fairly neutral while still retains a tiny sense of warm. Bass is very tight, impactful but lacks a good body, while instruments separation is good, air and depth reproduction isn’t – thus soundstage is mediocre.

ER4P with AW Audia's 75ohm adapter.

ER4P to 4S transformation with 75ohm adapter
As mention early on, ER4P can be transformed to ER4S by adding a 75ohm resistor adapter. The original adapter by Etymotic has an asking price of $65, which is quite a lot for nothing more than a stereo jack, a plug, some wires and a pair of resistors put together. The good news is that ER4 has been in the market for such a long time, getting an aftermarket P-to-S resistor adapter of the same spec is neither difficult nor expensive. Generally you can find a good quality one on eBay for around $20 or less. The one I have is made by AW Audio (eBay: AWWAN) and it is pretty solid. In fact the same seller also makes different cable adapter and custom cable for the ER4 series that can transform your ER4 between the P, S and B version of your liking, though some of the price aren’t cheap at all. Beside the difference in sound to the 4P, 4S will need an amp to sound at its best. You can still get plenty loud directly from most sources without a dedicated amp, but it will sound more compressed and lifeless.

The overall sound signature of ER4S is lighter and more felt more expended compared to 4P. Analytical and fairly bright but not harsh, extremely resolving and fast while remain very neutral, flat and cold across the whole frequency range. Bass remains very tight, impactful while still lacks a good body – though not as obvious as in 4P due to the more neutral presentation. Instruments separation is great, very decent air and okay depth reproduction which means the soundstage is about average. While not the most extended IEM in the treble region*, the micro detail retrieval is very staggering and quite possibly the best there is.

*HifiMan RE0 has the best high end extension I ever heard.

Verdict
For an old timer in the rapidly growing IEM market, Etymotic ER4 has stood the trial of time very well. Granted it is not a sound for everyone, it is still has one of the top spot among some of the more expensive new comers. For a price around $180 these days, it is a deal not to be missed by any analytical listener. Though I do find ER4S to sound a little better, the more practical thing to do will be to get the 4P and an extra aftermarket adapter. This way you can have two IEM in one package, especially consider that they do sound different enough to worthwhile. But if you are a diehard Etymotic fan who doesn’t mind carrying an amp around, ER4S will work out just as well. A Sonic Diamond is awarded to ER4S for its outstanding value though the rating will be even higher if not for the requirement of dedicated amping. Please refer to the list for a complete list of rating.

Introducing the Comply S series

ClieOS — Thu, 24 Jun 2010 20:34:25 +0800

First, I’ll like to thank Comply for giving me a chance to evaluate their upcoming S series foam tips and compared it to their T and TX series.

I have been switching back and forth between each type of the three Comply foam tips for the last two weeks to get a hold of how differently each is. So far I must say my personal favorite is still Comply T400 (in general), though it is not to say I dislike the others. They all have some pros and cons in comparison.

T400, being the original Comply, is what I am most comfortable with. It is soft, not irritating, and generally has the least impact on sound as compared to the other two. This means I can use it on most IEM without worrying too much of any sonic change, but I do expect the sound signature to turn just a little warmer, smoother and slightly less detail on the treble end. This is perhaps to be expected of using any foam tips and not unique to Comply.

TX400 pretty much does the same as T400, consider they are based on the same foam. However, TX400 also adds more bass weight and takes away just a little more treble because of the foam filter. It is not necessary a bad thing as I have found that TX400 works rather well with IEM that usually being described as analytical or leaner on bass (i.e. Head-Direct RE0, Phiaton PS210, etc). The added filter also works well on stopping earwax from getting to the IEM filter, which can be a pain to clean. This is of course great news for IEM users who tend to have more earwax. On a side note, I also prefer the black color as it is the least obvious when it becomes dirty.

To be fair, the blue colored S400 doesn’t quite look as impressive as its T/TX series counterparts on first sight. I was worrying the rougher outer surface might be irritating in use (as compared to the T series smooth surface), but I was wrong. It pretty much feels just the same as T400, and I do find it to have a little better grip in the ear canal than T series. One important thing I have observed on the S400 is the slower expansion after squeezing which gives it the ability to hold its shape much longer than T series after removal from the ear canal. It is a benefit when situation requires the user to do a quick remove and insert (i.e. try to listen to another person talking). The foam holds its shape and there is no need to squeeze the foam again. In comparison, T400/TX400 will usually just spring back to full size once removed and often needed to be re-squeezed for better fitting. In a sense, S400 does apply just a tiny bit less pressure to the ear canal. The only minor downside about S400 is that it tends to absorb more treble than T400/TX400, which could be the result of a narrower nozzle opening, the rougher surface which absorbs more sound, or perhaps combination of the two. This is probably the only reason why I personally prefer the more revealing (sonic wise) T400. Fitting and comfort wise, I think the new S series could easily equal or better than the T series depends on personal preference.

S series is supposed to be a different type of foam though the typical soft and tender feeling is just as obvious as other Comply. It is also going to be cheaper (US$9.95 a tri-pack) than the current T / TX series which should offer a better bang for the buck for foam tips user.

[REVIEW] Hippo Shroom-EB

ClieOS — Thu, 17 Jun 2010 00:49:18 +0800

First, I want to thank Uncle Wilson @ Jaben.net for the review sample.

I have reviewed the original Shroom less than 7 months ago, and by all mean it is a pretty good IEM for its price. But for those who pay attention to the current IEM market, ‘moving fast’ has became almost an understatement in IEM lifecycle. The idea of Shroom-EB, as I was told, came from comments on wanting more bass in the original Shroom. So fast-forward to today, a new edition comes with an enhanced bass response to quench the need of some brain-punch, as if the original psychedelic concoction is not enough. The new Shroom has been adequately named Shroom-EB, and that is ‘extra bass’ for you and me.

Note: Since the next two sections are the same between the original Shroom and EB, I just copied them over from my old review here.

Spec
Driver: Single 6mm Dynamic
Sensitivity: 95dB + 4 SPL / mW
Impedance: 16Ohm @ 1 kHz
Frequency Response: 10Hz - 20 kHz
Cord: 1.25m
Plug: Gold-Plated Stereo 3.5mm Mini-Plug
Weight: 0.8g

Packaging, Accessories, and Build Quality
Compared to other models of the same line, Shroom's packaging is definitely more shiny and psychedelic. Inside, you will find the IEM itself, a synthetic leather soft pouch (like that of NuForce NE-7M), three pair of different sized black eartips (small, mid, large) and three pair of different sized red/blue colored eartips - very shroomy indeed.

One of the first things you would probably notice is how small the actual earpieces are. The general shape resembles that of CrossRoads' Quattro, but smaller in diameter. In fact, the dynamic transducer used in Shroom is 1mm smaller in diameter compared to that of Quattro's. Also, the transducer is designed to be in the front of the nozzle (which is larger in diameter than the earpiece housing) for a more 'intimate' sound, but we will leave that discussion for later. Isolation wise, I find it to be above average and good enough for fairly noisy environment. Microphonics is just about average. You will want to find a shirt clip to go with it.

The mini plug is of an interesting design, kind of like old UE design but more rounded and smaller. I like the design but I wish the strain relief can be longer and more flexible.

One of the main features on Shroom is its transducer placement, which almost at the tip of the nozzle. As a result, the eartips used are specially made for Shroom to accommodate the extra wide nozzle, which means the possibility of aftermarket eartips replacement is out-of-question. The good news is, the eartips themselves is pretty good in quality. But due to the nozzle diameter, I would suspect people with very small ear canal size will probably have a hard time getting a comfortable fit. The design also introduces a new problem, earwax and dust accumulation. While it is not uncommon to see earwax buildup on the nozzle on any IEM, the more exposed Shroom transducer (sitting just behind the mesh / vent) is more vulnerable to such a problem. You will require cleaning it out the mesh / vent regular with a needle to make sure there won't be any obstruction - not a particularly hard thing to do but it must be done.

Overall, the build quality is similar to the latest CrossRoads MylarOne or the previously reviewed Hippo Boom. Decent, not the best there is but neither is it bad. It is not designed for rough use so some caring will be needed in order for it to last a long time.

Sound Quality
As usual, I gave the Shroom about 50hrs of burn-in before the review (like I did with all IEM I reviewed). In the original Shroom, the sound is very clean and transparent, a bit on the lean side - somewhat Etymotic-like but with a more sparkly treble. The new EB builds on the same foundation, but improves upon it.

The overall sound signature of Shroom-EB is balanced while analytical, more forward than the original Shroom. Treble is still well extended with good sparkle and resolution, though the occasional sibilant on the brightest note also remains. The mid is slightly full and well presented. Vocal is clean and upfront in just the right amount, adding a little sweetness without being too obviously colored. Bass has good speed, impact, as well as quantity - enough to make everybody happy but does not over-flood to another region. Soundstage is about average.

To add more soundstage, you will need to get yourself some UE style bi-flange. Squeeze them in till you get about 3~5mm of space between the opening of the bi-flanges and the front of the nozzle. This will transform your listening experience with EB.

Verdict
The new EB is in essence, the perfection of the original Shroom. It even outperforms the more expensive VB in many fronts and really threatens to take the crowning position in the entire Hippo line. If only it has a better build quality like the VB and I would have gladly given it a Sonic Diamond Award for the US$57 asking price.

A quick sum up can be found here.

[REVIEW] Fischer Audio Omega v2 and Eterna v2

ClieOS — Mon, 14 Jun 2010 20:10:19 +0800

First, I will like to thanks the local Fischer Audio distributor WS Trading for providing the samples.

Though this is a review, I don’t want to spend too much time covering things such as specification or build quality since they have been mentioned in my previous two reviews (first and second) and pretty remain the same in both v1 and v2. For Eterna v2, besides having the new improved cable, it looks and feels almost identical to the old Eterna. For Omega v2, it is pretty much the same except it doesn’t have the cable tie and cable guide. So, please read my previous two FA review for detail that haven’t been mentioned here. As you have seen below, the new v2 comes with new packaging to avoid any confusion of which version a buyer will get.

Omega v2
Frequency range: 12-22000 Hz
Sensitivity: 105 dB
Impedance: 32 Om
Input power: 60 mW
Cable Length: 1.25 M with Oxygen-Free Copper cable
Includes: Single flange eartips (S, M, L) and manual.

Eterna v2
Frequency range: 8 -22000 Hz
Sensitivity: 110 dB
Impedance: 18 Ohm
Input power: 350mW
Cable Length: 1.25m OFC cable
Plug: 3.5mm L shaped, gold plated

Sound Quality
As usual, both IEM have been burn-in for over 50 hrs before the review. So the questions have been, are the new v2 better than the v1? It is a hard to answer. On one side I really wish they are better, but as far as dampening goes, it can go both ways.

The overall sound signature of Omega v2 is close to that of v1: fairly balanced without any major flaw. Good treble and airiness with a slightly improved detail presentation, Vocal is neither too close nor too far, bass is smaller though still solid and goes down deep with decent slam and speed. Soundstage is better than average. The impression is that V2 is a more mature version of v1, smoother in overall frequency with better control. Improvement is nothing major but noticeable.

The over sound signature of Eterna v2 is also close to that of v1: Warm and musical, but smoother and less fun. Technically the v2 shows more control. Treble rolls off early, lacks sparkle and detail. Mid is full to almost wet. Bass has decent impact and full bodied, dominating the overall sound though doesn’t bleed too much into other frequency. Soundstage is about average and lacks a real sense of air. Basically the new Eterna sounds like a warmer, smoother version of v1. While it is still technically not an accurate sounding IEM, the tuning definitely makes Eterna a different beast in my ears, trained. While the V1 has been rated highly for the fun sound (but not for it technically ability), the similar yet more polite v2 doesn’t quite seem to do the trick. Technically better or not, a preference is a preference.

Verdict
I love my original Eterna and wish that you can hear what I call a ‘musical blend’ is. The Eterna v2 is simply too polite, too smooth for me to really rock out with – don’t get me wrong to think Eterna v2 is just a bad sounding IEM - It is not. It is still a very good sounding IEM for its price and compared well to other more expensive IEM, just that it doesn’t quite have the blend of sound which I have enjoyed a lot. For both the v2 models I sense that Fischer Audio is tuning their IEM toward a more controlled, perhaps in a sense ‘more acceptable’ sound that depends lesser on the listener preference, a kind of ‘popular’ sound signature. Though Eterna v2 might not fit my taste totally, I still want to take my hat off to FA for their dedication to continuously improve and update its older series. For now, I think it is safe to assume the new DBA-02 is cleanly taking over the crown as the new flagship models

Read the quick sum up here.

[REVIEW] Phiaton PS-320

ClieOS — Thu, 10 Jun 2010 00:49:36 +0800

Before the review, I'll like to thank Phiaton for the loaner unit of PS320.

Prelude
I kind of think I have moved from chasing the next best thing to simply trying to get more enjoyment from what I have, but once in a while I get the chance to listen to something I feel really special. It doesn’t have to be particular high-end or expensive, just a sound that fulfill a person’s inner craving. Now I must first admit I am a fairly analytical listener. Not that I don’t enjoy a balanced or warm sound from time to time, I just find myself being drew back to micro detail and neutral presentation all too often. Being a self-proclaimed audiophile for a while also let me to reach some conclusion of my own. One of such conclusion is: there is no such thing as an absolute ‘correct’ sound. If all of the best gears around can reproduce sound as truthfully to the original recording as possible, then the only logical conclusion will be - they should all sound the same. Yet it is never the case no matter how costly or exotic the gears are. If such ‘correct’ sound does exists for a person, it will likely to be a blend of the listener’s taste, synergy of gears, and the interpretation of faithfulness to the original recording. That being said, it is my belief that the right sound is the better sound, but the reverse might not be always true - especially for those who could only rely on another’s impression or review. Hopefully you will find this review useful because you understand a little more about me as a reviewer.

Spec
Frequency Response: 11Hz – 23Hz
Design: Closed
Driver: 13mm and 40mm Dual Dynamic with Passive Crossover
Max input power: 500 mW
Sensitivity: 102dB
Impedance: 32ohm
Isolation: -10dB ~ -12dB
Weight: 122 grams w/o cord
Connector: 3.5mm Gold Plated
Cable: Y-cord, 1.25m

Packaging, Accessories and Build Quality
Most likely because of the limited quantity of loaner unit, I actually received one without the outer packaging. While it really isn’t much I can say about something I never handle in person, I was fortune enough to see the actual package of PS320 (and a few of the Phiaton MS series as well, which by the way are some serious eyes candy) in a dealership before, not to mention I have reviewed one of the in-ear models from the same series before. I think I will still describe it the same way I did on my last Phiaton review - simple yet classy. It seems to be a theme Phiaton has on most, if not all of their products.

Accessories wise, PS320 comes up a little thin with only a leather soft pouch, though the pouch itself is a real beauty. I would really like to see Phiaton improves on the accessories department. As the brand itself is building toward a higher class of music listener, I think most buyer will want to see more than just the pouch. A 6.3mm and/or an airline adapter will be nice. It will be even better if replacement leather earpads are included as well. Some time little thing goes a long way.

Build quality is overall good on PS320. The leather pads on each side of the earcups are very nice touch. The hard plastic headband has metal pieces to support the structure. The joins are all well designed and don’t seem to have any particular weak spot. Both earpads and the cushion on top of the headband are extremely soft and comfortable. It is most definitely not a dead clamp on the head. It is pretty secure when walking around but I won’t take it for a run. The only downside is perhaps the single side cable. Though the original cable is fine to use, a more robust cable would have added a lot more point to the overall build. Removable cable would also be a great idea.

Though fully closed, PS320’s isolation is right about average, so don’t expect IEM-like isolation. On average it is better than opened on-the-ear headphone, but it isn’t enough to give you a clean sound in subway or plane ride. It is however good enough for quiet home / office use or street with light traffic.

Sound Quality
Let be honest first, PS320 sound signature probably is not for everyone. It is what I will describe as the on-ear equivalent of Etymotic. For those who are not familiar with the Etymotic sound, it is generally considered to be lean on the bottom while analytical on the top. While PS320 do not share a carbon copy of frequency response (FR) with any Etymotic, they do have some common characteristics, such as a quantitatively small yet very tight and accurate bass hit and an aggressive treble. The one thing, perhaps the one real sonic weakness on PS320 is the lack of any sense of warm or fullness. It is evidently bone dry. In fact, the dryness couples with the aggressiveness might make PS320 sounds just a little too ‘busy’ to some. That is, it lacks some fine resolution between notes. To me, it is not really an issue of resolution. The problem lies in the lack of good texture, thus the listener couldn’t properly hear each note. One of a quick fix is to give PS320 a little mid-bass bump. It doesn’t take much either, just EQ +2~3dB in the 250Hz region and we are cooking! While 2 or 3dB might not seem like much, the idea is to improves it just enough so the overall sound signature can remain as intact as possible. Just as a side note, PS320 does response to EQ very well. For people who don’t / can’t EQ, I have another trick for you on the next section when we discuss mod’ing.

One of the strong points of PS320 is the relatively neutral FR that extends very far to both ends, no doubt the benefit of having two drivers instead of one. Bass, though is not in abundance, is very precise and well extends to almost 20Hz. It is what I’ll like to describe as ‘quality bass’. Mid, as I have mentioned, can be just a tad too dry without EQ. While it is comparatively a weak spot in the whole sound signature, it is not really a turn down by any means. Treble pretty much goes as far as my hearing limitation at around 17.5Hz (till I can’t tell whether it is still going up or not). It is very clean and sparkly, quite forward, bright and full of micro detail. This is by far the most linear of any headphone I have ever heard. Soundstage is decent, though nothing spectacular.

I find PS320 to be fine with most music genre that doesn’t require a good vocal and a heavy bass. Classical and instrumental music seems especially well because of how reveal PS320 is. With a little EQ however, even vocal and smooth jazz can be pretty good as well. Diana Krull and Sade actually both sound mighty fine in my ears. I didn’t find PS320 to be particularly hard to drive, so amping is not a necessity. Amped or not, I can’t say I find any weird sound frequency from the passive crossover. I probably won’t even notice there are two drivers simply by listening. Do note that you will be well to keep PS320 away from bad source and low bitrate. In my opinion a slightly warm source will probably have the best synergy.

Under the earpads: the coaxial 13mm treble unit on the front and 40mm bass unit visible in the vents

PS320 next to another dual driver, my mod'ed Panasonic VMSS headphone, which really isn't a match in SQ compared to the Phiaton.

The Mod
Here is a quick and pain-free mod for PS320 to add some warm to the sound. If you take a look at the picture where the earpad has been removed (by slowly prying them on one side, as they are just clipped onto the earcups), you can see 8 vents surrounding the treble driver. All you need is to cut some tissue up and cover 4 of those vents. My choice is the top and bottom’s two (in pair). No glue is needed; just clip the earpad back and the paper will be held in place. You can also vary the number of vents or the material you want to cover to achieve a sound you wanted.

Verdict
I am a fairly dedicated IEM user, have a few decent cans but never could really see myself converted to the other sides. However, there is something about PS320 that I do consider to be just right for me: It is portable, very comfortable and has a clean, neutral and highly detailed sound. More importantly, this is going for only US$150 on the street now (MSRP is around US$200). I don’t know how PS320 will fit your taste, but it is getting a thumb up from me. If you are an analytical listener like me, this will be a portable headphone I can truly recommend by heart. In fact, I am already setting my sight of picking one up in the future after the loaner unit goes back to Phiaton. Dual drivers or not, PS320 has turned out to be a great listening experience for me.

[REVIEW] Brainwavz M1

ClieOS — Sun, 06 Jun 2010 03:18:12 +0800

First, I’ll like to thank MP4Nation.net from the sample.

It is stressful to have a successful sibling when everyone is expecting you to live up to the family name. I guess nothing can be more true to Brainwavz M2 littler brother, the M1 in this case. Coming from the same blood line, M1 is supposed to be a step down version of M2 while still maintaining the same high price / performance standard established by M2. Well that is going to be a tough job since M2 is certainly one of the best valued IEM in the sub $100 category. Now if you have read my previous M2 review, you would have known M2 as the international version of Visang R03. M1 is however a little different. There isn’t any corresponding Visang IEM to M1 as it is specifically tuned by MP4Nation to be a unique model just from the Brainwavz series.

Spec

Transducer: 10.7mm Dynamic Driver

Frequency Response: 20-20,000 Hz

Impedance: 32Ω

Rated Input Power: 10mW

Sensitivity: 110dB @ 1mW

Distortion: <= 0.3% @ 94dB

Maximum Input Power: 40mW

Connector: 3.5mm L-shaped plug, gold-plated

Cable: 1.3 m, Y-cable, silver plated OFC

Accessories and Build Quality

Since what I have is the sample unit from Visang factory, I won’t bother to tell you how nice the packaging is nor the fine detail on accessories. From past experience with Brainwavz product I can almost be 100% sure that the package will look nice and all the standard accessories (plus a few extra) such as different sized silicone eartips and foam tip will be included, along with a good case, shirt clip and probably an earhook just like the M2. Build quality wise, M1 as nothing less from the M2 (which is pretty excellent by the way). The only downside I can see is the lack of strain relief on the earpiece. The good news is that silver plated cable is so well made that I don’t thing overstressing on the cable exit will be too much of a problem, though a proper strain relief will be even better.

Like M2, microphonics is decent on the Y-splitter up and almost silence from the Y-splitter down. Isolation is on par with M2, which is above average. The eartips is different from the Sony Hybrid like clone that M2 has, but it is still quite good in quality and fairly comfortable in long use.

Sound Quality

As always, I put in about 50hrs on the IEM before the review though didn’t really notice any significant change in sound characteristic. One of the first things to notice on M1 is the ‘house sound’ carried over from M2. It is the same warm and musical presentation that makes the M series easy on the ear and appeals to people who are looking for musical experience as a whole but not a mixture of notes.

The overall sound signature is warm, smooth, musical while a little laidback. Treble is decently extended but doesn’t have a lot sparkle, smoother than that of M2. Mid is full and vocal is quite sweet. Bass has good body and decent impact though just a tad slow and mellow out the general sound impression. Above average soundstage but limited by its inabilities to present good airiness and form a detail image.

Verdict

If you seriously can’t afford the M2, then M1 is probably one of the next best things. Like the M2, It has a great price, good build, more than decent selection of accessories and a one year one-to-one replacement warranty to back it all up. It is IEM like the M1 that really redefines the borderline of what it means to be a high price/performance ratio IEM in the budget market.

Quick sum up can be found here.

[REVIEW] Fischer Audio FA-002 and FA-003

ClieOS — Fri, 04 Jun 2010 23:20:09 +0800

First of all I’ll like to thank Fischer Audio for the samples. Before these, the FA I know is really more of a portable headphones oriented brand with their main audience in the lower to mid sector of the market. But with the new Master series, FA is aiming on a higher ground. Giving those big brand names pretty much dominate big cans market for now, making budget conscious cans doesn’t quite seem to be the smartest of moves unless FA do believe they have something special up their sleeve, and I certainly think they could have hit the jackpot with the new FA-002 and FA-003.

Spec

FA-002 / FA-003 (same for both)

Frequency range: 10.5-26500 Hz

Sensitivity: 105 dB

Impedance: 64 Ohm

Input power: 120 mW

Cable length: 3.0 M

Plug: 3.5mm with 6.3mm screw-on adapter, gold plated

Extra: one additional pairs of cushions

Review Gears

FooBar 2K (ASIO) + NuForce μDAC + FireStone Audio Little Country hybrid OTL

w/ Grado SR-325i, Audio-Technica ATH-AD700, AKG K81DJ, Panasonic RP-HTX7

Packaging, Accessories and Build Quality

To make it clear: Both of my packages are in the ‘simple’ packaging, meaning they are in paper box instead of black nylon zippered case with cut-out foam inside (as you might have read on other FA big cans review in the forum). The rep from FA told me that the two different kind of packaging reflect the difference in the targeting customer. The ‘simple’ paper box is actually more expensive to produce since it is custom designed and made, but it is environmentally friendlier (for those who like to be green) while the nylon zippered case packaging is more practical. Suffice to say the paper boxes actually do look classier than the zipped case (as far as I can tell from picture), and the general feeling resemble those of SBA-01 and DBA-02 (which are also in the Master series): It is simple and elegant.

Inside the box, you will find the headphone itself, 3m long detachable cable (with colored 3.5mm mono plug for each channel), 3.5mm to 6.3mm screw-on adapter, an extra pair of soft leather cushion, and simple manual and warranty. The 3.5mm mono plugs have a snap-on ring at the base so they will fit securely once you push then into the headphone. The 3.5mm stereo plug (for the source) does have a metal body but it is a little hard to tell in the picture.

For FA-002, you get an open grill on both side of the speaker since it is an opened design, kind of like HD650 in a sense. Underneath the grill there is a layer of thin foam separating the transducer from the open. For FA-003, there is a piece of metal where the grill is supposed to be as it is a closed design. The metal plate is actually just for show as the ear cup itself is fully sealed with damping material inside. Judging from the spec you might think FA is using the same transducer in closed / opened design but I have listen to both enough to tell they sound slightly different from each other, beyond just the design. The transducers do however share similar construction, which are around 40~ 50mm in diameter. You can remove the ear cup by removing the small 4 screws in the corner, and that actually open up a lot of ‘mod’ space for those who don’t mind to get their hands dirty.

For street price around US$170~180, these cans are neither built as good as Audio Technical nor as humble as Grado. You can definitely get better built cans for that kind of money if that is your concern, but it doesn’t mean these FA cans will break in half in one use. At least with care they will last for a long time. There are some really minor issues that I would like to see improvement, such as a stronger but more flexible metal headband, better paint job and such. However, after being a Grado user for a few years, these ‘issues’ are more of a nitpicking rather than actual problem.

The earpads are made out of soft leather with foam inner lining which is pretty comfortable but obviously not quite as comfortable as what my AD700 can offer. It is also very deep so the whole ear can be fitted inside without a problem. The headband will apply a little force and the whole fit is quite secure. You can actual move your head around without worrying much but it is not a dead clamp. I can use it for hours without any issue unless it is in a hot day as the leather pad does keep more heat than velvet pad. To switch out the leather pad is also easy, just hold the plastic ring in the base of the leather pad firmly and gently twist it one side and you can twist it out and exchange it for another, which is included in the package. The cable has both channels join on the 3.5mm plug so making it balanced will be very easy since re-termination at the end is all you need.

Overall I am happy with the build quality and the general packaging. I can see other companies offering a better packaging and build in this price range but FA has nothing to be ashamed of with what they have, especially once we move on to the next section.

[REVIEW] Fischer Audio oldskool’70s

ClieOS — Mon, 24 May 2010 21:45:56 +0800

Before we started, I’ll like to thank Fischer Audio for the review sample.

I must confess I am not much of a portable headphone user these days when I have access to a good collection of IEM. I guess the same can be said to most portable headphone user these days, especially among the younger generation. You’ll find less and less people on the street with headband or clip-on headphone but more with IEM and earbuds. It reflects the trend of miniaturization in the audio world where equipments that were once considered very portable now being classified as big and bulky. We are spoiled by technology, no doubt. Here comes FA’s oldskool’70s, a rigid supra-aural design that resembles the old time stock headphone that came with your PCDP (that’s assuming you are old enough to even own a PCDP). I must admit that this type of styling has some strange attraction to a person like me, who grew up using one of these. But does it perform? We will see.

Spec

Frequency range: 20-20000 Hz

Sensitivity: 112 dB

Impedance: 35 Om

Input power: 100 mW

Cable length: 1.25 M

Gears for review: Sansa Fuze / PC->3MOVE

Packaging, Accessories and Build Quality

Without a doubt, Oldskool’70s has the fanciest packaging compared to other FA products, even to most other similar products. I guess it is no need to be shy about it. After all, it is supposed to give the user a taste of the 70’s. The actual box that holds the headphone has an outer paper sleeve with the headphone proudly printed on the front. The basic color of the whole packaging is fiery red. The headphone itself is held in the box by a piece of paper with silvery printed words. Does it really a retro way of packaging things as people did in the 70s? I don’t know, but it is definitely very classy.

As far as accessories are concerned, all you get just a soft pouch. While I don’t think there is any other accessory that will be very help for a portable headphone, I think an extra pair of foam pad will be a great idea. The foam pad on the headphone is extra thick and marked with the FA brand. It will be difficult to find a generic foam pad replacement with such thickness.

While the overall design is obviously trying to be retro, the build quality needs not be. The back of the transducer housing is made out of aluminum (so is the left/right color button on each side) and appears to have a fully sealed back design. The headband is stainless steel and the two arms that the transducers housing attached to are thick plastic. Since there are very little moving parts (as compared to a foldable design), there is very little thing that can go wrong with it. The only odd thing is the position of where the cable leaves the housing, which is at an angle facing backward (as opposite to just straight down), though I don’t find it to be any trouble at all. The cable is semi-flat. It is not very flat like those on Monster Beat Tour or JAYS’ a-JAYS, but more like rectangular in cross section. The straight mini plug is iPhone friendly. Overall, the build quality is very solid.

Sound Quality

While I am personally more of an analytical listener when it comes to IEM, I actually do enjoy a warmer sounding supra-aural headphone. Since there is very little isolation to speak of, plus the fact that I generally use my headphone on-the-move, micro detail will be hard to notice anyway. In situation like that, I would rather just rock out with the music instead of being peaky on detail. On that notion, OldSkool’70s perhaps is not my preferred on-the-move cans, but it works out rather well in a more stationary situation.

The headphone has a sound signature that is not easy for me to describe – if you ever heard a pair Alessandro MS-1 (or a pair of lower end Grado), you would know it has a kind of generally neutral to slightly lean, airy sound with bright, analytical treble and quick bass -which many like to describe as a fun “Grado’ish” sound. If I would to describe Oldskool’70s sound signature, it would be ‘MS-1 with forwarded mid and good soundstage’ cause that is how I feel about it right after I A/B’ed it with my old MS-1. Treble is crisp and bright, extends very well , full of sparkle and detail. Mid is forward with a sweet vocal but a little leaner on the lower end. Bass is tight, fast hitting and quite impactful, but lacks just a little warm. Soundstage is a strong point. Though it is not the widest soundstage that I have heard on supra-aural headphone, it is still better than most consider it has more of a closed back design.

A few things to note: First, Oldskool’70s scales rather well with a good source as it is rather revealing. Second, it responds well to EQ. As I said, I like a little warm with supra-aural headphone when I am on-the-move, so I give a little bass bump EQ to Oldskool’70s and it actually sounds very close to what I like (more easy going) and doesn’t degrade the overall SQ at all.

When compared to other portable headphones I have, Cresyn C550H, Sennheiser PX200, and Koss KSC75, Oldskool'70s is unmistakably more resolving, more big cans like instead of tuning toward portable use (i.e. stronger bass, warmer bottom) like the others.

Conclusion

As a portable headphone, Oldskool’70s is a little too revealing (and perhaps too hi-fi in a way) for my preference of an easy going sound. However, it serves me well as a stationary headphone. I dare to say I even prefer it over MS-1 in the matter. While I can’t say it has a better price/performance ratio than a $15 KSC75, it is still very well worth the MSRP of $62 (could be a little higher depends on where you are) and thus, recommended.

[REVIEW] Fischer Audio - For Your Ears Only

ClieOS — Wed, 19 May 2010 10:13:58 +0800

So this is the second review I am doing on Fischer audio’s (FA for short) portable headphone. When the last one was out, there is quite some controversy as to whether their products were worthy of such praise or perhaps it is just another FOTM, hyper- hyped. I think by this time around most of the doubt has been gone yet some still remain skeptical. Before I begin the review I would like to make it clearer as to how I review IEM: A review is not more than a personal assessment which may or may not be agreeable by others. My goal of review is not to simply tell you what is ‘better’ to buy. ‘Better’ is such a complicated words that we all must agree that we can’t really agree on what standard of reference is, as it is all personal. Yet the idea of the review is to give you a glimpse of what may be more/less fitting to your need as to avoid wasting time and money. Thus I don’t want to just telling you what sounds the best, but more importantly what they sound like and how well I feel about each of them as a whole, as objective as I can from a subjective POV. As I have said before, putting a great treble, a great mid, a great bass and a great soundstage together can easily give you the worst of sound as to the best of sound – it is ‘the blend’, the coherence, the synergy and most importantly, the ‘factor of taste’ that determine how an IEM matches you. That is, do the IEM sound signature fits your taste of music? If not, why bother? Trying to be Hi-Fi is one thing, but trying to enjoy the music is another. Fidelity serves no purpose when there is no enjoyment in the music. They are equally significant elements in the quest to a ‘better sound’, or perhaps it is ‘the better enjoyment of sound’. That is the goal.

Spec

Eterna (beta?)

Transducer: Dynamic

Frequency range: 8 -22000 Hz
Sensitivity: 110 dB
Impedance: 18 Ohm
Input power: 350mW
Cable Length: 1.25m OFC cable

Plug: 3.5mm L shaped, gold plated

SBA-01

Transducer: Single balanced armature

Frequency range: 50 -23500 Hz
Sensitivity: 109 dB
Impedance: 30 Ohm
Input power: 50 mW
Cable Length: 1.3 m

Plug: 3.5mm L shaped, gold plated

DBA-02

Transducer: Dual balanced armature

Frequency range: 20 -24000 Hz
Sensitivity: 108 dB
Impedance: 43 Ohm
Input power: 60 mW
Cable Length: 1.3 m

Plug: 3.5mm straight, gold plated

Packaging, Accessories and Build Quality

As far as packaging is concerned, the revised Eterna (beta?)) is pretty much identical to the original version. In fact you can’t tell them apart by packaging alone. While it is understandable that FA is trying to avoid reprinting the box, it is nonetheless a hidden issue on the consumer’s part on which version he/she might get. The smart thing to do will be to put a sticky on the box. The box of SBA-01 and DBA-02 is another story. FA is going minimalistic with the packaging (and in a way, pretty green). The boxes are identical b/w the two, basically just paperboard box with different color paper lining on the inside. The boxes are sealed by a strip of color paper with model name on the front and spec printed on the back. It is nothing fancy but in a sense, very classy.

Accessories wise, Eterna v2 is the same as old version, a soft pouch, two single flange, one double flange, ear guide and the simple manual. SBA-01 comes with just one pair of small and one of mid single flange eartips, ear guide, two pieces of manual / warranty paper, and a soft pouch. The pouch is made out of padded nylon mesh which is great for ventilation (which is a good thing if you like to put the IEM in the pouch right after you take it off, as moisture is less likely to accumulate). DBA-02 comes with three pairs of quite decent single flange, ear guide, a leather pouch, and the warranty / manual. It is easy to tell that the pouch is real leather just by the leathery smell. The red stitches actually remind me of leather pouch with e-Q7.

Build quality is decent with the Eterna v2 (beta?). I have had no real problem with the old Eterna and I certainly don’t find the new v2 to be any lesser in quality. The only issue with the old Eterna is perhaps the slight memory effect on the cable. FA seems to notice that issue and change the cable to a softer, less affected type. SBA-01 and DBA-02 are mainly hard plastic construction. The full plastic housing with transparent section might look a little on the cheap side, but the build quality is pretty good. Beside the good looking metal grill on the nozzle, I especially like how small the SBA-01’s earpieces are. I can wear it over-the-ear or straight down without any trouble at all, though I do think FA should have included a cable guide on the Y-splitter up. The housing of DBA-02 is slightly on the bigger side which requires a little more adjustment when wearing though I do not find it too bothering. The only improvement I would like to see is the strain relief on the earpiece, which should be elongated just a few more millimeters and hold on tighter to the cable. It will make wearing it over-the-ear easier. I am quite happy with the Westone-like twisted cable, but do feel a little strange to see the black and white retro color combination. While SBA-01 has a more UE like nozzle size and DBA-02 has a more Westone/Shure like nozzle, they are not totally confirmed to the common standard. SBA-01 nozzle is smooth with no bump/ridge to hold the eartips, and Comply T400 is slightly too big to have a firm grip. DBA-02 nozzle is simply a little too long for most single flange from other companies, which exposes the filter closer to earwax. Comply T100 or P-series (for Westone) seems to fit fine on the DBA-02 though. Shure olive will probably fit as well but it will be on the tighter side. Microphonic is not a big issue with all three models since they are designed to be wore over-the-ear. Isolation is great on Eterna stock bi-flange, but a little below average for SBA-01 and DBA-02. They are still however enough for street use, but I won’t recommend them on extremely noisy environment.

Overall I am happy with all three models. FA has shown improvement on build quality since I last reviewed the company’s products.

Sound Quality

As always, I put in roughly 50 hours of burn-in (each) before the audition. I do not find any major change during the process.

The old Eterna is a very musical sounding IEM. It has a slightly warm and an upfront presentation that is ‘not about accuracy of the sonic reproduction, but the 110% dedication to fun and music enjoyment’. The new Eterna (beta?) is technically more balanced and polite. It still retains the same warm sound, but in a lesser form. Treble is smooth and fairly detail, but rolls off just a little early. Mid is full, decently sweet but feels a little dull. Bass has good impact and decent bodied, but a tad too slow and slightly congressed. Soundstage is slightly above average though lacks a real sense of air. In a quick sum, the new Eterna sounds like a compressed version of the old version – less extreme edges, more polite yet also lost the ‘magical blend’ which I rated so highly.

From looking into the transparent housing, SBA-01 has a rounded BA driver which I assume to be Siren transducer by Knowles. Since this is not the first Siren transducer I have heard, it becomes apparent that all Siren transducer share some common characteristic in sound signature. That is they all sound warm and musical in different degree. The overall SBA-01 sound signature is also in similar trend, but with a full sounding mid, especially in the upper region. Treble is well extended though not quite as refine and lacks good sparkle. Mid is decently full with a sweet vocal, but a little harsh on the upper region when in loud volume. Bass is quite deep with a good speed and impact but not vest in body. Soundstage is about average.

DBA-02 is fairly balanced sounding with a brighter, more analytical presentation. Treble is very well extended to the top, detailed and full of sparkle, but might be a little too aggressive for non-analytical listener. Mid has good texture, neither too forward nor recessed, but the upper mid is a little more forward which can sound slightly harsh on brighter music. Bass has good impact, body and speed. Not quantitatively big, but above average. Soundstage is quite good, very airy.

Verdict

In just little over half-a-year since I wrote about Fischer Audio, I have seen the company’s market expended in both demographic and product line. While I am not too impressed by the retuned Eterna (beta?), SBA-01 and especially DBA-02 really standout well as the company new venture into balanced armature based IEM. More importantly, I am glad to see FA still maintains its bang for buck pricing policy and willingness to explore the unknown territory. I have given the old Eterna an SDA for its unique blend of sonic signature, and now I think it is time for the new flagship DBA-02 to receive the same recommendation for its technical performance.

The MSRP are US$59 for Eterna, US$76 for SBA-01 and US$150 for DBA-02. Actual street price might be higher.

Read the quick sum up here.

[UPDATE] I got words that the new Eterna I have could very well be a beta unit which might not be the same as the new revised version due to some shipping error. So this basically throw most of the conclusion I have out of the window and back to square one. I will keep the review intact but please read it with a grain of salt (not that you shouldn't in any review).