Noble Kaiser K10 – Custom In-Ear Monitor

A while back, after spending a little time with the Shure SE846, I decided to part with my Unique Melody Miracle custom IEMs. In time I came to regret not having a custom-molded IEM in my collection so I began considering a replacement. Somewhere around that time I also had the chance to try the Noble PR universal IEM which, although not to my sonic tastes, showed a degree of tuning expertise that instantly intrigued me – the PR managed to deliver a crisp, super-clean, treble-focussed sound without harshness or sibilance – a huge feat in my experience. With Noble firmly on my radar and a clear sense of the type of sonic presentation I wanted, I started to consider their other offerings and decided eventually on the Kaiser 10 CIEM.

Before I get into the normal format, I wanted to say that the K10 is the first earphone / headphone that has ever left me wanting more… I’ll let you read on to see what that really means…

Overview

Noble hardcaseIn the world of personal audio, the ultimate sound experience generally comes from custom molded in-ear monitors (CIEMs). In recent times, top of the line (TOTL) CIEMs have gone from 3-6 balanced armatures per side to 10 and even 12 BAs per side. The Kaiser 10 is an example of a 10 driver CIEM and has 10 individual drivers in each ear-piece – a pretty awesome piece of spatial design, but also a challenge of epic proportions when it comes to ensuring that all of those drivers are delivering their frequencies in time with and in support of the other drivers in each ear piece.

One of the largest challenges of any multi-driver setup (including speakers) is to have each driver deliver its optimum frequencies without interfering with the frequencies coming from the other drivers. A speaker manufacturer faces challenges with 2-3 drivers so imagine what happens when you get 10!! Add to that the challenge of placing the drivers at slightly different distances from the sound outlets and the possible timing / phase challenges this presents and getting everything right to the level expected of a flagship CIEM becomes a daunting prospect.

To read the rest of this review, please head over to the new Passion for Sound site – it’s sexier and will have more great content coming very soon!

 

Audiofly AF140 – Mini-Review

I’m sitting in bed today feeling decidedly lousy, but with the quandary of also having a pair of Audiofly’s new AF140 IEMs in my temporary possession for a review before I pass them on to another Head-Fi’er so I hope this mini-review can do justice to what I find to be a really enjoyable set of IEMs. Please don’t make the mistake of assuming that the brevity of my review or quantity / quality of photos reflects the quality or performance of the product in any way.

Before I get started, I’d like to thank the team at Audiofly and Billy from Noisy Motel for making this tour possible. I know that the AF140s have received some criticism so far which is always a risk during a tour, but I honestly believe that the criticism is misplaced and a result of personal tastes (which we are all completely entitled to) as opposed to a product design flaw. I believe the AF140s hits its brief as perfectly as the previously reviewed AF180s – it’s just that the brief in question isn’t for everyone and that’s fine. Read on to see if it might be for you…

To read this review please head over to the new Passion for Sound site. It’s sexier and there’s lots of great new content on the way.

 

Atomic Floyd Super Darts

The Super Darts are a hybrid IEM from English manufacturer, Atomic Floyd. They boast some of the best build quality and bass quality I’ve ever seen and heard in an earphone, but were recently reviewed rather negatively by a local magazine publication. I was shocked to read the review and promptly asked Billy from Noisy Motel if I could have a lend of the Super Darts to review and to see if I had mis-perceived the Super Darts during my previous auditions. Despite being loaned the Super Darts there is no bias for me to write a favourable review.

Overview

  • Sensitivity:  100 dB
  • Frequency range:  5 – 25,000 Hz
  • Impedance:  16 ohms
  • Drivers:  1 x dynamic, 1 x balanced armature per earphone

The Super Darts retail for $299 (AUD) which places them firmly in the sweet spot for the many hybrid IEMs appearing on the market from companies such as Astrotec, Sony, and T-Peos to name a few. The hybrid trend is thriving at present because of the benefits of marrying the very bass-capable dynamic drivers with the more agile balanced armatures for mids and treble. I’ve previously reviewed the Astrotec AX60s which are a 3-driver hybrid that costs $100 more than the Super Darts so they provided a nice reference point for this review.

Design & Comfort

These are easily some of the sexiest IEMs I’ve ever seen and the fact that they’re made from metal and have a beautiful fabric-wrapped cable means that they feel as good as they look. They are built like a tank, but a tank made by Ferrari. Everything from the plug through the Y-split to the shells of the IEMs themselves are made of high quality materials and look and feel like they’re worth every cent of your $299.

Cable

SAMSUNG CSCThe cable is fabric wrapped up to the Y-split before being replaced by a hard-wearing red rubber to maintain the silver, black and red colour scheme of all Atomic Floyd products.

Incorporated into the left channel cable is a mic and remote control for Apple devices (it doesn’t work with any other brand of device I’ve tried including Windows and Android phones) and the mic housing is also made of metal and high quality rubber for the buttons. Everything about it feels high quality and long-lasting, but the placement leaves me wondering a little.

Using the Super Darts while wearing an open-neck business shirt, the microphone section was constantly SAMSUNG CSCcatching on my collar and soon drove me quite nuts. It also seems to be a little too high, sitting level with the adam’s apple in my neck. Although it’s probably a good placement for a microphone it is out of sight and in a position that will catch on a lot of clothing I think. Of course, some of this may also depend on your individual dimensions because we all have different length necks, ear heights, etc. It’s not a deal breaker, but I felt it was worthy of noting.

Accessories & Fit

TSAMSUNG CSChe Super Darts are supplied with a sparse selection of silicon tips – 3 sizes, but that’s fine because they are excellent tips offering great comfort and perform better with the Super Darts than any other tip I tried (including foam, Sony Hybrid, and Monster tips). The tips carry the black and red colour scheme as well so your IEMs will look extra bad ass with the provided accessories.

As well as tips, Atomic Floyd package in an airplane adapter and mini-jack (6.3mm) adapter. Both are gold-plated with red accents so they look good and they feel like they’re high quality too.

SAMSUNG CSCFinally, you also get a rubber clam style carry case which is basic, but very practical and one of the best carry cases I’ve seen for IEMs (from a practicality point of view).

Overall Comfort

The Super Darts are a very comfortable IEM. I’ve mentioned in previous reviews that I sometimes struggle with in-ear comfort because of relatively small ear canals. The small flange on the tip of the Super Darts is just enough to hold the tips securely in place, but puts no pressure on my ears allowing the Super Darts to almost feel weightless.

Despite being made of solid metal, the Darts aren’t heavy or bulky. They have some weight, but they remain comfortable even for long listening sessions. As previously mentioned, the supplied tips are excellent and definitely contribute to the overall comfort.

Sound Quality

The Super Darts are best described as a fun sounding IEM with a U-shaped frequency response. They have perhaps the best bass I have ever heard on an IEM  – admittedly I haven’t heard some of the beasts in the bass department like the SE846 and IE8, but for a $299 IEM to be SO impressive in the bass region is astonishing. Before I carry on about the bass though, let’s break down the sound as usual into some categories for consideration.

Bass

SAMSUNG CSCNo suprises here. I’ve just told you how exceptional these are here. The Super Darts are able to create rumble below the audible frequencies which is just amazing to me. They have a slight emphasis in the bass, but are not bloated at all. The bass is tight, punchy and full, but not soft or bloomy. Listening to Black Capricorn Day by Jamiroquai I was literally feeling sounds against my ear drums that I couldn’t hear. There are many tracks where I’ve flat-out stopped what I was doing to marvel at the bass from these tiny little bullets of sound.

Other than describing the bass from these as perfect, there’s not a lot more I can say and that’s not hyperbole. Imagine the best bass you could hear from an IEM and you’ll know what the Super Darts sound like in this region. Wow.

Of course, bass alone doesn’t make the perfect listening experience though so read on to see how they fare as we approach the higher frequencies.

Mids

The Super Darts’ U-shaped signature automatically means the midrange is going to be slightly pulled back in relation to the bass and treble, but to my ears the mids are still very good. There’s nice cohesion with all instruments and no signs of conflict between the dynamic driver and balanced armature where they share duties at the crossover point.

The mids are natural and clean overall. I’d probably describe them as neutral and accurate when considered in isolation. Yes, they sit behind the bass and treble in terms of overall emphasis, but the mids aren’t coloured in any way to my ears. There’s no lushness or cream added, but they also don’t get too dry or analytical with vocals – a nicely balanced approach.

Treble

SAMSUNG CSCAnd it was going so well… OK, so it’s no a deal breaker, but the treble is going to be a love hate thing for some people.

The Super Darts skirt the fine line for me between being energetic and dynamic in their treble presentation versus straying into strident and “too hot” territory occasionally. They remind me of some of the beyerdynamic cans with the peaks in the upper treble around 9kHz. If I had to draw a comparison to a headphone, I would point to the beyerdynamic T90 which is just a little brighter than the T1.

Depending on your taste in signatures, your device, and your music choices, the Super Darts could be anywhere from the perfect earphone to an ear-shredding disaster (but the latter exaggeration would only be for those who swear by super dark setups like Sennheiser HD650s with uber warm amplifiers). For most people I think the Super Darts will be much like many of the high-end beyerdynamic headphones – really enjoyable for 90% of your music and just a bit uncomfortable for the 10% that’s mastered too hot or poorly and with harsh treble.

Staging & Imaging

I expected the treble profile of the Super Darts to make for some epic staging and imaging, but they aren’t quite as incredible as I hoped. They’re not bad by any stretch, but they’re probably just average. You wouldn’t pass these up because of their staging and imaging because they’re respectable and solid, but they aren’t world-beaters in this department either. Imaging is clear, well located and cohesive and the stage is moderate in size, extending from ear to ear and slightly forward. The stage is also nicely semi-circular too whereas some other IEMs sometimes create a centre section and side sections with nothing at the angles, but the Darts perform well in that regard.

Summary

So what does all this mean and would I buy a set of Super Darts?

If a friend asked me about the Super Darts I would highly recommend that they try them out. In other words I think very highly of these earphones, but also recognise that they won’t be for everyone. If you like a dynamic sound, epicly awesome bass and sparkly treble you will absolutely love these earphones. If you run screaming from anyone who says the word “treble” then you probably shouldn’t bother with the Super Darts, but everyone else should definitely give them a go and make sure you try a track with some bass – you won’t regret it!!

Just to clarify all of this for anyone on the fence, I am general a bit treble shy. I use tube amps to smooth out my heaphones and lean away from bright / analytical gear towards more musical and slightly warm presentations, but I still REALLY like the Super Darts. If I didn’t already own a set of custom Miracles I would buy the Super Darts in a heart beat. For my ears I would pair them with slightly warmer sources (the Fiio X3 and RWAK100 would both be great combos) and love every second of time spent with them. I’m almost tempted to buy a set of these just because they are such a sexy, high quality product.

 

Matrix Quattro Balanced Amplifier

After spending a lot of time with some high quality tube amplifiers, I thought it was time to revisit the world of solid state (using sound processing chips rather than tubes). Some headphones seem to pair well with tubes while others like solid state so it’s always nice to have both options available.

Matrix M-Stage (HPA-1): the Quattro's older sibling

Matrix M-Stage (HPA-1): the Quattro’s older sibling

The amp I decided on is the Matrix Quattro amplifier which offers balanced and unbalanced operation (which I’ll explain later) and pairs really nicely with the Matrix X-Sabre DAC I bought a little while ago. I was fortunate enough to also be able to buy a second hand Matrix M-Stage (HPA-1), the Quattro’s baby brother (although it’s been around longer). The M-Stage is renowned as a great bang-for-buck entry level amplifier (around $300) so how would the more expensive Quattro compare at its $450 level? Let’s find out…

Overview

The Quattro builds on the success of the famously affordable and excellent M-Stage amplifier, but brings improved design and balanced operation. It was the balanced operation that hooked me because I love the idea of it from my days working in car audio where I often designed systems with completely separate left and right channels, but let me explain the concept a bit better.

Every speaker (or driver in a headphone) requires a positive and negative connection or an active signal and a ground connection. In unbalanced systems, there are two active outputs that deliver the stereo signal  – one to each driver – and there is a single ground connection that is shared between both drivers. This setup can produce very, very good sound, but there is also the risk of the ground connections causing some leaking of sound between the left and right channels which can result in the sound becoming less defined and less controlled. I’m sure there are much better explanations of these circuits out there if you’re interested, but hopefully this paints enough of a picture to say that balanced circuits have the potential to provide cleaner, better defined sound.

Specifications

  • Max power:  1 W (balanced mode)
  • Power per impedance:  800mW @ 60 ohms / 400mW @ 300 ohms (balanced mode)
  • Inputs:  1 pair RCA, 1 pair balanced 3-pin XLR
  • Outputs:  2 x stereo 6.3mm headphone jacks / 1 pair balanced 6.3mm headphone jacks
  • Signal-to-noise ratio:  >98dB via XLR / >95dB via RCA
  • Distortion:  <0.001%

Just to explain some of these specs, the power of the Quattro in balanced mode is twice that of its unbalanced mode because it’s essentially 2 amplifiers working together when running balanced versus just a single amp when running unbalanced. Also, there is just one set of outputs that are used for both balanced and unbalanced operation, but I’ll explain that setup a little later.

The specs of the Quattro don’t really tell us a lot about its performance and there was nothing in that list which excited me more than any other amplifier on the market, but for the price and with its offering of balanced operation for my beloved T1 headphones, I had to give it a run.

Design & Compatibility

01170021The Quattro is a simple design that’s been described as two M-Stage amplifiers sandwiched together. That may or may not be true as there are definite similarities under the hood, but also some differences in terms of the components used.

Perhaps the most obvious differences are the combination of unbalanced and balanced circuits as well as the use of different op amps. Op amps are the chips that amplify the sound and lend the amplifier a significant dose of sound signature (how warm, cool, bright, dark, bassy, or tinny the amp sounds). Where the M-Stage uses the OPA2134 chip, the Quattro uses the OPA604 and OPA2604 chips for its balanced and unbalanced circuits respectively.

Inputs / Outputs

01170020The Quattro has a pair of RCA (unbalanced) inputs and a pair of 3-pin XLR (balanced) inputs. Unfortunately, it doesn’t get any line level outputs which is a shame. It’s always nice to have the option to use headphone amps as pre-amps or to have a straight pass-through to connect other amps in a chain, but for the average consumer who doesn’t stockpile audio gear, the Quattro offers everything you need in terms of these 2 input options.

For output of sound, the Quattro comes with a pair of 6.3mm sockets on the front which are labelled Solo 1 / Balanced R and Solo 2 / Balanced L. It’s only as I write this that I realise that the left socket is on the right side and vice versa!? Oh well, doesn’t really matter. The point is that this pair of sockets is multi-functional which is both good and bad.

The Good

01170018Having 2 jacks means that you can use 2 pairs of headphones simultaneously which is great if you’re comparing headphones or if you want to listen with a friend. It ‘s amazing how often I would like to be able to switch between headphones without having to plug and unplug leads all the time so the Quattro is great in that regard.

Neither good nor bad is the fact that the twin sockets are used for balanced output via normal stereo 6.3mm headphone jacks which are easy enough to buy from most electronics shops if you need to make an adapter. Please be aware though that you specifically need to use stereo jacks. Mono ones won’t work with the Quattro’s auto-detecting circuit which I’ll explain shortly.

The Bad

In my experience the twin 6.3mm arrangement is one of the least common ways to connect to a balanced output with 4-pin XLR being a much more common choice. That means you’re most likely going to need an adapter lead to connect your 4-pin terminated headphones to the Quattro’s 6.3mm sockets. It’s an easy DIY build if you can be bothered, but you can also buy this type of lead if you prefer so it’s not the end of the world, but an XLR socket would have been better I think.

The other thing I’m not a total fan of is the auto-detect circuit on the Quattro’s outputs. Although the concept of the amp switching modes for you is nice, the reality is that the process isn’t seamless and sometimes leaves me with a balanced connection to an unbalanced output. This is because the Quattro detects the status of the connection with the contacts on the 6.3mm plugs. It seems that sometimes, the plugs touch the wrong contacts on the way into the socket and make the amp think it’s connected to an unbalanced headphone. The only solution I’ve discovered is to unplug and reconnect the headphones or to switch the amp off and on again. It’s not the end of the world, but I would have been perfectly happy with a third button on the front panel to select my output type.

Other Design Elements

In terms of size, the Quattro is about twice the width of the M-Stage, but is shorter by about 15-20% and a hair lower in height. It’s a nice compact size.

On the front right of the unit is a nice large aluminium volume knob with a rough texture around the side. It looks good and feels good and it’s attached to a high quality Alps motorised volume pot so you can also use a remote control with the amp if you want. The remote is an optional extra, but it’s very well priced.

Also on the front panel are a power button and source button to switch between the RCA and XLR inputs. I was pleased to note that both inputs are able to provide output to balanced and unbalanced phones so you don’t have to use a balanced source to enjoy balanced ‘phones. Not only that, but the difference between the sound from the balanced / unbalanced input is near enough to identical that it makes no difference which you use.

01170017Finally, on the left side of the amp’s fascia are lights indicating mute status (only available using the optional remote control), input in use (RCA / XLR), and output status (balanced / unbalanced).

Compatibility

The Quattro’s power output means it will drive most headphones other than difficult-to-drive planar magnetics. I’m hoping to try it with some Audeze LCD 2s soon so I’ll update if there’s anything notable to share. Unfortunately, the Quattro has an output impedance of around 10 ohms which is quite high and may negatively affect the frequency response and tightness of sound from lower impedance headphones depending on their specific specs. Testing the Quattro with my 32 ohm headphones showed some variation compared to the M-Stage with its 5 ohm output, but it was very much a case-by-case thing. The one thing I can say for sure is that it will not match ideally with low impedance, multi-BA IEMs like the Miracles. The sound is really clean and hum is negligible, but the frequency response is altered slightly by the impedance mismatch.

Other than the minor issues with output impedance – and I do consider it minor because it’s an amp designed for desktop headphone listening, not IEMs and portables – the Quattro drives all my phones really nicely and I love the fact that it can run unbalanced / balanced in and unbalanced / balanced out. There’s plenty of versatility in how you use the amp and with what.

Sound

01170022Having been excited to buy the Quattro, I was initially disappointed with its sound. It was a bit harsh with the T1s and I felt like it wasn’t significantly better than the much cheaper M-Stage. The balanced output was definitely an improvement, but I was still left no really enjoying what I heard. Although I’m still quietly skeptical about the effects of burn-in, I decided to leave the Quattro running for a while to see if the sound changed at all. I didn’t listen to it during this time so I know I haven’t adjusted to its sound, but I can definitely confirm that I now thoroughly enjoy the sounds being produced by the Quattro in both unbalanced and balanced modes.

For the review of the sound, I’m referring to the character of the sound in both balanced and unbalanced mode. The balanced circuit is just 2 of the unbalanced circuits running in parallel so the character of the sound is identical. I’ll explain the audible impacts of balanced versus unbalanced output separately.

Treble

Treble from the Quattro is present and extended, but smooth. Even with the sometimes edgy Beyer T1s, the Quattro produces very listenable treble that’s easily on par with the treble produced by other amps in this price range or slightly above.

The Quattro produces brighter treble than the M-Stage, but manages to do so without getting cold or harsh. The treble can be a little dry, but the overall signature is slightly warm so it balances the treble nicely. Fans of sparkly treble may want to look elsewhere for an amplifier because there’s not a lot of sparkle in the Quattro’s sound, but don’t mistake that for a lack of treble or extension. The treble’s there, it’s just not enhanced or lively – instead it’s smooth and easy to listen to. To my ears, the Quattro strikes a really nice balance by presenting a sound that’s not as thick as the M-Stage (which is a great amp) while still keeping the smooth and musical presentation that makes the Matrix gear so enjoyable. I was really impressed with the Quattro’s rendition of the detail present in the sound of a solo violin during the listening I did for this review. The Quattro was able to accurately recreate the subtle rasp of the bow being drawn across the strings sounding completely accurate and lifelike. I think that’s a benefit of the slightly dry sound – it allows details like this to come through where a lusher, smoother sound might cover them over.

Mids

The Quattro’s midrange is accurate and clean. It’s got good presence in the overall presentation and strikes a nice balance between musicality and accuracy. Once again it’s drier and cooler sounding than the M-Stage, but still enjoyable and slightly smooth. I really like the presence of the midrange created by the Quattro. Even in busy, active tracks, the vocals are always clean and separate, but not enhanced or pushed in your face in any way. THey are slightly forward compared to the rest of the spectrum, but only to a degree that you notice if you’re listening for it.

Bass

The Quattro produces bass that is largely accurate, but possibly a bit behind the rest of the spectrum. I wouldn’t say it’s lean sounding at all, but the mids and treble overshadow the bass ever-so-slightly. The quality of the bass though is very good. There is texture and impact as well as body on sustained bass notes – it’s just that all of this happens slightly behind the rest of the spectrum. Extension of the bass is really good all the way down and is probably more balanced in the lower ranges than around the mid-bass.

It’s hard to be sure because of the time taken to switch, but I think bass impact and present improves slightly when running in balanced mode. This could simply be a reflection of the power output doubling and therefore having more energy to apply to bass notes.

The Quattro’s bass presentation pairs really nicely with bass-tilted phones like the Fischer FA-011 LEs and I imagine it would also really suit some of the Sennheiser models with a bit of extra mid-bass warmth.

Signature Summary

I don’t normally do this, but I wanted to clarify the descriptions I’ve provided of the bass, mids and treble. I found myself struggling to describe the Quattro’s sound in this review and I think it’s because the Quattro is largely neutral and accurate to the source with a slightly dry, but musical presentation. The comments above reflect very subtle impressions only and should not discourage anyone from considering this amp because it’s very, very good for its price and the evidence of that fact is the difficulty I had trying to really dissect its sound signature.

General Presentation and Staging

Matrix Quattro AmpIn unbalanced mode the Quattro produces a good-sized soundstage (or headstage) with decent width and depth, although I would say it is wider than it is deep. There’s not a lot of vertical layering or vertical space so the result is that all of the sound seems to be placed across a narrow stage extending side to side. The stage sounds open and in no way congested, but it’s not expansive and spacious like some amps I’ve heard, although those amps also cost significantly more (e.g. $200+ more). Staging is definitely more open and more accurate than the M-Stage so the Quattro is a definite upgrade.

Beware: moving to balanced mode makes a significant difference to the soundstage! Switching over to use the balanced outputs of the Quattro lifts the sound to a whole other level. The overall signature is unchanged, but staging resolution is dramatically increased. Everything becomes more sharply defined, gains extra presence and weight and just generally gets better. This is why you buy a Quattro!

In balanced mode the stage is deeper and taller while retaining the same side-to-side space. The accuracy of placement is improved and the ability to hear vertical layers in the sound is improved as well (i.e. vocals now sound higher than a guitar being played by the singer). In balanced mode, the Quattro’s stage and presentation is outstanding and highly enjoyable. It’s still not expansive and massive, but strikes a good balance by placing the listener “a few rows back” from the stage while keeping the music close enough to be engaging.

Summary

For its $450 price tag, the Quattro is definitely an amplifier worth considering if you’re running balanced headphones (or if you can get a cable to make them balanced).

I probably wouldn’t specifically recommend the Quattro if you’re only using unbalanced headphone connections even though it’s a good amplifier even in unbalanced mode. With the new M-Stage (HPA-2) out now, I would expect it to match the Quattro for unbalanced performance and you can always change op amps (see below) to upgrade the sound of either amp so I’d probably choose the M-Stage plus an upgraded op amp for unbalanced use, but it’s a no-brainer for balanced headphones – the Quattro is excellent!!

Just like its older brother, the original M-Stage, the Quattro offers outstanding value for money with good power, an enjoyable sound that’s more neutral and detailed than the older M-Stage, and the opportunity to wring every last bit of performance out of your headphones with balanced cables.

A Quick Note on Op Amps

01170024I’m new to op amps, but having come from recent experiments with tubes in amplifiers, I look at these little “chips” kind of like digital tubes. What I mean by that is that you can tweak the sound of your amplifier by using different op amps. In the image to the right, the op amps are the black, rectangular things – there are 4 along the top and one in the bottom left corner.

The Quattro uses a single, stereo op amp for unbalanced operation and uses 4 mono op amps for balanced operation. This can make it an expensive prospect to upgrade because you need to buy 5-6 op amps depending on the versions you use, but it can also provide some relatively cheap fun because you can pick up decent op amps from as little as $5-6. You can also spend up to nearly $100 each if you want to spend that much, but it’s not necessary. You do need to make sure the op amps you buy are suitable for your device, but it’s not too hard to work out with a bit of online reading and asking on forums.

I’ll be posting an article specifically on op amps soon so subscribe if you want to know more. I’ve ordered a bunch to plug into the Quattro and a couple of other amps I’ll be reviewing soon and I’ll have impressions of the different op amps and how they influence the Quattro, M-Stage and a Fiio E12DIY portable amp.

HiFiMan Re-272

OK, let’s get it out of the way… yes, the name “HiFiMan” doesn’t inspire confidence. So much so that a friend of mine refused to buy their products because the name sounded like a cheap knock-off brand. If you haven’t heard of HiFiMan before, don’t be put off by the name – it is a great brand that continues to pump out some amazingly priced products that outperform vastly more expensive products from other manufacturers.

To read this review, please head over to the new Passion for Sound website. It’s sexier and there’s lots of great new content. Don’t worry, the link will take you straight to this article.