The Custom One Pro I hope is just the tip of the iceberg for the more traditional headphone makers, combining a bit of personalization and style with some unique, even if throwaway features, that go hand in hand with great sounding headphones. You can never be too sure with the regular consumer x and y cans and where they come from and if they will actually sound good but I have a lot more confidence in Beyer’s show of hand in this market. That being said this is not a full scale jump into consumerism, more of a foot wetting exercise compared to the likes of Skullcandy but for a first effort there is much to be commended about the new Custom One Pro. It still bears the hallmarks of classic DT range full size closed headphones with the fork like hinges on industrial looking black cups and the detachable wraparound pleather headband with matching semi-deep pleather pads. It’s a mean looker in black with stock plates on each side emblazoned with Custom Pro One in white and red. The whole look and feel is very manly and robust. I like it so far.

I mentioned the whole plate thing on the side so if you dig a bit deeper in the box you are going to find two extra face plates for COP as the headphone has detachable side plates and comes complete with a small hex key for taking on and off the plates. I like it, its been done before but for me the prints are decent enough without being too gaudy and for a first go represent something more cool and understated than bizarre and wacky. That being said I love the stock plates, something about actually have the brand and name of the headphone on the side gives it a more strident look but then others might digress. The point is you have some choice now. Since the COP came out onto the market black has also become white with an all-white COP version complete with 2 face plates and honestly this is much more the fahionista choice for me and maybe more feminine for some. Black is really the default the choice for old me. You can go much further though with swapping out the headphone pads, rings etc to go super whacky but Beyer fans, well older fans, might not fall for this. I suspect the COP is for new converts who like to mix it up style wise.

The second key feature of the COP is the variable bass reflex system incorporated into the bottom of each cup. That is basically 4 individual bass port holes that are manually selected by pushing a small lever that covers the amount of holes from four down to one on each side and the headphone in turns adjusts its bass response to the hole you select. You have Light bass, Linear, Vibrant bass and Heavy bass. It takes a bit of getting used to in terms of having it on your head and making sure each cup has the right bass port selected because actually these do really work for me. You are encouraged to see it as four headphones in one or one headphone with four house signatures from analytical bass port one to basshead port 4. And I can assure you the difference between each port is quite evident.

You can get a bit cynical with these types of features and they have been prevalent for some time now in portable amps but the COP does a really admirable job with the port selector. I found bass port 4 probably to be way over the top for my bass needs and port one to be a bit too squeezed for preference settling on port 2 for regular listening or port 3 for some oomph when I am in the mood. Port 4 huge -db boost is pretty awesome but very restrictive in terms of listening enjoyment for me but I am utterly convinced will wet the pants of most bassheads packing a 15″ woofer in their robin reliant. Those still clutching their older DT-770 with a slight whimper need not fear, the COP is damn bass heavy but the DT-770 has a slight edge on the final “which thumps more” stakes over the COP. The DT-770 though is rather one dimensional when those ports come into play on the COP.

Throw in a detachable single ended 3.5mm cable, a first at this DT level for Beyer and you have customization galore to be honest – Lord knows what cable you can stuff in there to temper the sound, maybe a bit of silver, something heavy, something light, there is even a gaming mic to add on to the cable – again the emphasis is on choice and that is always a good thing.

The tonality of the COP is more musical than accurate. The closed cup DT system with a bias to tuning lends itself well to modern pop and dance genres and probably less so with genres requiring delicate articulation and complex layering. This is a fun can, a bass head can but with the port system you can squeeze a little extra juice with some genres that regular fixed cans cannot really conquer or EQ can properly compensate for. DT lovers will certainly find some commonality switching to the COP with slightly thinned out mids great bass and more than adequate top end but don’t expect razor sharp imaging and sound stage.

The COP is built for enjoyment and the wonderfully easy to drive 16ohm configuration means you can enjoy right out of your DAP though personally I am using a small amp just to get a little bit more oomph and richness in the presentation. It’s darker and more dynamic than the Momentum and the more neutral Amperior but less detailed. Its mids can’t hold a candle to the K series AKG but have a much superior bass response in terms of slam and impact.

Final notes

Priced where it is at roughly $200 its a fantastic fun headphone with a touch of style and the ability to reach out and draw in casual listeners as well as the hardcore commute and basshead fans. It’s tuning favors bottom to top end but the beauty of the bass reflex system gives you more than enough meaningful choice not to have to resort to complicated EQ tuning to get a suitable match to most modern genres.If Beyer continue with this thinking it is very possible we can have a lot more variants on the market and move Beyer nicely into that all too rich consumer market without sacrificing any audiophile principles.

Technical Specs

Transmission type: Wired
Headphone design (operating principle): Closed
Headphone impedance: 16 ohms
Headphone frequency response: 5 Hz – 35,000 Hz
Nominal sound pressure level: 96 dBtiggy2012

Links:

www.beyerdynamic.de/custom/‎

Well after four weeks solid this is now my go to amp for portable listening – how the heck did that happen? Well a few things actually contributed to my cynical walls dropping as well as my audiophile pants. Putting aside the now standard issue 50′s styling retro-minimalist packaging the International is a real cutie, much smaller than I thought it would be but also much heavier for the size. It’s about 25% taller than the power churning RX3 though and given the current fad for small amps with big power it comes as no surprise the International is no weakling either in the output stakes, though not as high as the RX3.

A few things to note about the International that make it stand out for me. First it is a both single ended and full balanced meaning if you want you can tag it with the CLAS -db as an alternative to the RX3 system. Yes the form factor is a bit awkward but nothing like having an alternative right there to the RX3 tonality wise. The second is the DAC making it compatible right out of the PC with a usb input and a 24/96 sampling rate Cirius Logic CS4398 DAC which puts it right in there among desktop and more mobile competitors though not quite on the KingSound UD384 level. You can run this single ended also (with three gain options for both single and balanced) but the power is in the balanced output and using the same set of balanced 4-prong connectors as the RX3 and the Ray Samuel’s predator type amps you can run a full size balanced headphone either direct from the PC using the headphone DAC setup or on a portable solution with the AK100 or tied in with a transport/DAC such as the CLAS -db making it one heck of a flexible solid state sampling companion. Flexibility I like and the International has bags of it.

Technical Specs

Battery: 1600 mAh Lithium-Polymer
Dimensions: 71.5 mm x 85 mm x 25.5 mm
Battery Play Time: 14-16 hours (Amplifier) 8-10 Hours (Amplifier + DAC)
Battery Recharge Time: 3 hours
Frequency Response : +/- 1 dB:10-25,000 Hz

Output Power – Balanced:
130 mW into 32 Ohms
200 mW into 50 Ohms
330 mW int 600 Ohms
660 mW into 300 Ohms
Input Impedance: 10KOhms

Output Power – Unbalanced:
130 mW into 32 Ohms
160 mW into 300 Ohms
200 mW into 50 Ohms
83 mW into 600 Ohms

ALO Audio claim it will juice out around 14- 16 hours using it as an amp and around 8-10 hours using it as a DAC. I got in and around 10 for my portable needs though in in stretches with breaks so the figures don’t seem too far away to me. Charging is pretty much on the same AC Adapter setup as most ALO Amps these days – I really need to start labeling my adapters soon, one of them will surely come to a sticky end if I don’t check before I plug in. Sadly no Ibasso style pouch for the amp for carrying around though that honestly is just nit picking. Is it me or does a portable amp benefit from something to put into for safe keeping? Rein Audio’s desktop X-Phone amp has a huge suede pouch which is frankly ridiculous but its $200 less than the International. Otter should really dream of cool cases since I am sure there is a niche in there somewhere for hardcore portable audiophiles much like igadget freaks.

Signature Sound

The International is a solid state but warm and very musical amplifier that really grew on me once I really got down to listening to it in detail. The National laid the groundwork but the International is a much more mature and sophisticated sounding amplifier than the National. The International performs a lot better with much better texture and detail in the treble than the slightly attenuated National and produces a much more balanced response right across the spectrum than the National. True enough the International is much more expensive but I have always enjoyed the National tonality so the International tonality is truly a welcome step up in class.

Compared to the V2 Continental the bass weight of the International far outshines the V2 capabilities. Not having the pleasure yet of playing with a V3 I do think though that the special qualities with tube amping will always set both the V2 and V3 apart from the International but goodness the International really competes so well that if you are after a all in one the International for me is a much better package for genre flexibility than the mid-centric V2. That is without going into the shorter battery life of the V2 and the general hotness of carrying that larger portable tube amp around.

The RX MK3 has the power edge over the International, better high end power hungry headphone matching and perhaps more zip and sparkle in the treble than the more laid back International but can come at a cost of being slightly more brutal in its presentation and not quite as coherent and smooth as the International. This is particularly so once you level the playing field with some mid-range headphones or flagship cans that are much easier to drive.

I still prefer the Just Audio uHa-120 over the International with the AKG K550 due to its beautiful thick analog tones but the International really matched well with the mids king K501 allowing a really smooth but articulate listening experience without any harsh edges or incoherence in that wonderful K501 sound.

More sensitive IEM’s in low impedance setting don’t suffer from any undue hiss or background noise thankfully though my UM Merlin’s still require something with more sparkle at the top end to let them truly shine. I have long since considered that the key to the Merlins is silver and a brighter amp but have yet to find the perfect combo for them. The Merlin’s did perform quite well though in terms of depth and tonality without any muffling or booming bass. Knowles driver based dual BA’s work very well also with the International with the Rock-It R50 having a nice clean expansive response without too much top end heat.

Easier to drive planers worked very well also with the International. The LCD-2 balanced produced a very smooth response with very tight and extended bass response and natural mids that are the hallmarks of a good match with the LCD-2.

The DAC

As a portable DAC solution it clearly outperforms the likes of the FiiO E17 or E07k with a much bigger sound stage and a more dynamic presentation. I don’t think it is quite as good as the CLAS -db DAC solution but then again you can plug in the International and use it with the CLAS -DB as an alternative to the RX Mk3 for balanced reproduction so even there you don’t loose out on any flexibility. The qualities of the headphone amp in the International carry through to the DAC section. It’s a smooth performer and well balanced without any edginess or grain in its tonality. It outperforms stock level desktop amps such as the Marverick D1 and D2 tube DACs (not modified I might mention) in terms of articulation and refinement.

Final Words

I have played with amps that are more powerful, amps with say better mids and amps with igadget friendliness but in all honesty the International is so flexible and such a mature amplifier and high quality portable DAC that its really one heck of a keeper for me. If you want one all-in solution for IEM’s, PC playback and headphones I honestly can’t speak highly enough regarding the International.

Westone and I have a mutual understanding when it comes to packaging an earphone but probably from different perspectives. I have always had a challenging time parting with my money for earphones based on a simply but crude analogy that they are too small to warrant such a big price. It makes no sense and truth be told I salivate at a headphone much more these days. The payoff though for the earphone and me is that I tend to just forget about packaging etc unless it is something seriously expensive like the K3003 and go straight to the sound since for me that is what I will pay for. So I tend to be a little more critical of earphones over headphones in that respect at a certain price level. Westone though always manages to distract me with their packaging. The case is much higher quality than the splurge of rebranded round pill box zipper cases you see these days; the tips are plentiful, the cleaning kit is there and the box is right on the money. The UM1 may trade for around $100 these days but you would be hard pressed to accuse Westone of lacking any commitment in their presentation even at a budget level.

The UM1 is pretty small but not the smallest out there anymore. The UM1 has been out for a while and Knowles driver based Dual BA’s such as the Rock-It R50 are even smaller in size than the UM1 with it’s single driver and housing. The Jays Q-jay’s is one of the smallest examples I have seen to date of the Dual BA design and the Rock-It R50 is perhaps slightly comfier with its soft silicon encasing, but the Westone UM1 just dang well fits perfectly for a universal for me. This is an unabashed over the ear design and though universal the contours of the UM1 fit very nicely indeed. The UM1 gets my vote as one of the comfiest and lightest earphones for my ears to date.

The wide array of tips supplied by Westone for a budget model is really pleasing. You have True-Fit foam tips, silicon and triple flange in varying quantities or which I settled on the triple flange offering the best fit without compromising sound quality. Isolation was excellent and the fit was way above average. Those in the earphone wearing business for a long time should have no issues finding the right tip for their ears. The foam tips offered the best comfort and isolation over all the tips but didn’t offer the best sound reproduction. This is not an issue with the foam tips but more of a matching to the reproduction qualities of the UM1′s single BA driver.

Technical specifications

Sound Output Mode Stereo
Frequency Response 16 KHz,
40 KHz
Sensitivity 114 dB/mW
Impedance 25 Ohm

The sound

The UM1′s single BA driver is exemplary for what it does and that is a great mids experience with a tight and accurate bass that can kick when needed. The kicker though in the UM1′s armory is the rather rolled off treble that at times feel non-existent on more demanding or articulated tracks or those tracks that pull right across the spectrum. The roll off starts in and around the 10k point and its pretty sharp thereafter. The toboggan ride from the lower mids onward really only serves to further emphasize that roll off that sadly limits the UM1 from greatness for the price.

That being said the clarity is superb and the tonality is wonderfully smooth and warm and brings a welcome respite from the feisty top end of the Knowles driven Dual BA’s I have listened to over the last year or so. They are super easy to drive at 114db/mW requiring only 50-52 on my Astell & Kern Ak100 volume dial and not too much either on the iPod Classic and Zune HD. There is no real need for amping the UM1 unless your determined to try and inject some pace into the top end. The single driver is no slouch either on the bass though don’t expect subterranean levels of reproduction or extension. There is a definite elevation in the lower frequency tuning in the UM1 but it never gets out of control or boomy.

It is a real pity about that treble extension missing in the UM1. The smoothness of the driver, whilst initially compelling can eventually sound limiting with a truncated sound stage that doesn’t let anything really breathe or explode but rather heavily repressed, particularly in genres such as Techno or trance that shoot for top and bottom end sparkle without too much focus on vocals and mids. Here IEM’s such as the Rock-It R50′s Dual BA have a distinct advantage bringing a much more expansive sound with greater articulation and sparkle that the UM1 can be found wanting from time to time in that respect. Throw on some chugging rock or mid-paced easy listening which doesn’t tax the spectrum as much such as Amy McDonald’s 4th of July or Brother and the UM1 seems a much more enticing and non-fatiguing proposition. It’s just a pity I can’t get a little more on that top end to really get some zip into the reproduction.

Amping?

I tried a few just to see if there would be any significant change. The FiiO E12 was a clear no go, massive noise level and super suppressed performance. I turned that off in like 10 seconds. No surprise there really since the E12 is built for power and not single BA IEM’s. Then again the International from ALO didn’t match that well either and the RX3 was a total loss feeling like listening to a small micro-speaker cased in cement under a bed of feather pillows from 3 doors away. The plain fact of the matter, for what I had available to test with the answer was straight out of the DAP thank you very much.

Final Thoughts

For $100 the UM1 is a good single BA but is hampered by the severe treble roll off that limits its flexibility in playback of a few genres. It is a wonderfully comfortable earphone with above average build quality and accessory pack with the super foam tips. Don’t get me wrong though I found it likeable in many respects and easy to drive in terms of it’s smooth, clear and slightly warm tonality. This is one earphone you listen to for a long time without your ears going on fire.

But the trade off between pleasing and upper mid to top end articulation is perhaps too much for me in the long run and I found myself really yearning for more sparkle and spaciousness in too many tracks to really say it is an earphone for all seasons. If you have an FA-DB02 this is a complete opposite so there might be some mileage in having a ‘ying and yang’ in your backpack for travels but as your only IEM I think there are slightly better options if you hunt around.

For those in the local market the Westone UM1 is priced at Php3950 at Digital Walker and in some places cheaper if you have the readies at hand.

How does it sound?

No need to worry about its power output – it had enough grunt to push my HD600 and an LCD-2 without noticeably losing impact or output level. If I would summarize it in a word, I’d say it’s for the most part unremarkable, but I mean that in a positive way. I didn’t immediately feel that it was adding or diminishing the input signal in any way and was able to show well enough the differences between the sources I used with it.

For example, among all the sources I tried, the D-Zero was obviously the least capable; considering its price and it comes with a built-in battery for portable use, however, it isn’t too bad. On its own – and I tested it first – it actually seemed good, other than being a bit too soft with the impact of the percussion and somewhat warmer mids (which I’ve also noted on the Cantate, where I used it first). The Marantz 5003 for example was noticeably warmer in tone, but the lower mids until the higher range of bass notes were a little too forward. Kick drums in Dream Theater’s Images and Words album seemed to put the percussion slightly ahead of the rest of the band, with the bass drum way out in front, the other pieces only slightly so. It reminded me of the Cambridge Audio 540C that I tried with my Cantate last year. This might not be immediately apparent in speaker systems, if not a plus for subjective evaluation given most standmounts’ lack of bass extension, but on a headphone that extends further and sitting right outside the listener’s ears, this becomes an issue. Yes, I’m using the relatively newer pads on my HD600, so it can’t be that. Also, drum rolls seem to go from one side of the soundstage, with a relatively weak center, before getting louder when it gets to the next side, implying the need for a little bit of crossfeed processing.

The NAD C545 fared a bit better. I felt there was more extension in the bass, given the audible reverb coming from playback of Mozart’s “Confutatis Maledictis,” as well as in other modern music tracks; however this did not come at the cost of the bass drum being out of place in the soundstage. Also, the percussion had a fair bit of “crunch” to the sound, kind of what a snare or tom will sound like tonally if you were listening to it in the same room, and while it didn’t seem too forward at first, but once I swapped over to the Cantate, it seemed a bit fatiguing. I’ve been listening for a while at this point so I couldn’t yet say for sure if the Burson was just warmer or if my ears were just aching for a rest.

Another two weeks alternating between the Burson and Cantate, both on the D-Zero, every couple of days or so and I began to notice that the Burson seemed warmer. On back-to-back listening (which of course isn’t as instantaneous as I’d like) I note that there could be an upside as some guitar passages were more forward. The electric guitars on the intro of Nightwish’s “Astral Romance” was audibly warmer on the trailing edge of the notes, as well as less likely to fade out behind the other notes in the mix. However between the Burson and D-Zero vs the Cantate and its own, more bare-bones PCM2704-based USB DAC, I generally preferred the latter as it didn’t soften the impact of the percussion. Just to be fair, for anyone who believes in cables anyway, I’m using a 1m-long hardware store 3.5mm to RCA interconnect with the D-Zero, as opposed to the Cantate’s USB DAC that doesn’t leave the box (barely moves out of the circuit board, even).

There were however two headphones where the Burson’s added grunt (even on low gain to match the Cantate’s, as I haven’t tried to force the screws open to switch to high gain) was of immediate benefit : the Beyer T1 and the Q701. Not only does the Soloist not need to get to the end of the volume knob’s rotation to get to a louder than normal listening level, but the sound remains clean, very dynamic and with great transient response. The Cantate on low gain can just barely get the T1 loud enough unless you are sitting pretty much alone in the room. It does a lot better with the K701 I tried before, and in fact I really liked it, save for when I tried a Q701 with misshapen pads (where the thicker sections were on the top of the ears – which had an unnatural midrange-treble transition and a weird soundstage).

The Burson on the same Q701 demo unit, albeit with the pads somehow installed correctly although slightly evened out with wear, however, was another matter entirely – I’ve never listened to an amp that can drive a 701-series headphone like a king of an equestrian military taking the reins on a stubborn horse captured from another group (more of Ieyasu or Alexander whispering to then controlling him well than, say, Shingen or Genghis breaking in a wild stallion). The bass reached low, hit hard, and hit fast – there was no compromise to favor one over the other. If anything, the only compromise was what you’d make with a headphone to begin with, and that it doesn’t give a lot of depth, but in fairness, the two times I’ve heard a headphone with that much stage depth, the K701 on a tube amp and NOS DAC was doing the weirdest things to the soundstage. The other time was a K1000 (and that’s basically a pair of speakers hanging on a headband). Even with just my Android and the D-Zero, and for less than an hour thanks to our trip to the DFA Consular Office satellite in the same mall, I cannot forget how great that system was – it was everything I liked about the Dynaudio Contour S5.4 driven by monster amps I didn’t ask the price for, although scaled down to the size of a headphone, in terms of form factor, soundstage size, and of course, price (except maybe for Stax).

Preamplifier

Still, the Soloist isn’t perfect. Remember how I noted it sounded like was slightly coloring the output, more noticeable on the HD600? I hooked it up to my workstation system, which normally uses the D-Zero as a simple (but smoother than Realtek) DAC for my notebook feeding a pair of Swan D1080MkII 08 active speakers. Yes, the speakers have their own easy enough to reach volume control, but hey I had the Soloist and I didn’t have a full-size system to try it on. I immediately noticed it seemed warmer than with just the D-Zero and the D1080′s. I swapped out the cables, which again is far from as instantaneous as I’d like, but the added warmth was there nonetheless.

From a technical standpoint, this is not a good thing, obviously – the pot for whatever they chose it for given the stepped design might actually still be adding that little bit of color to the sound. However, as I used it then, I got over the nitpicking very quickly as hours passed as I worked on my MA thesis and I noticed less listening fatigue. Usually I listen with the speaker covers on, but I took photos of the Burson together with my speakers, and it took a while before I realized the covers were on the table. Being able to hook up the headphone right away when the clock went past 12MN, or to take it off when I get home early on a weekend and my neighbor is blasting Gangnam Style so I can counter with either Motley Crue and Behemoth or Late Night Alumni and Kaskade (now you know why I don’t use shuffle play mode) was just really convenient.
A Further Note on Transparency

A day before I returned the Soloist I was able to get a pair of 0.5m Monoprice 3.5mm to RCA IC’s, which I originally ordered to keep my set-up neat (not to mention it was only about $1+group buy shipping rates more than the 2m hardware cable I’ve been using) and the plugs looked nice, I immediately noticed that what I’ve been noticing as added “warmth” on this amp wasn’t there anymore. I did a brief back to back test (regrettably not a blind test however) and sure enough, there was still that hint of warmth on the cheaper, four times longer cable.

I can’t test it on the Cantate for comparison now, however, as it conked out a few days ago and I can’t even bust the fuse out (I’d rather let a more experienced engineer/technician work this), but for now my working theory is that the cable is just too long and probably not pure copper that it might have been affecting the signal. Also, given some people tend to prefer warmer sound, I’m not surprised why some cheap cables win out as much as there is a tendency for “clear, flat-sounding” sources and “transparent” amps to lose to “warm” gear for some people. Suffice to say though the Cantate might actually sound too lean on this cable.
Verdict

If I had $1000 I’d probably get this amp, even if I already had an amp I’m happy with . I wouldn’t sell my Cantate (even if its in its box waiting for professional diagnosis and repair) to help fund the purchase given its one-box set-up next to my low- slouchy listening chair, but nevertheless, I’d happily recommend the Soloist to anybody (with $1000) looking into getting a really nice amplifier with lots of clean power.

Oh, and by the way – normally I wouldn’t spend a lot more on an amp over the price of headphones or speakers I’d use them with, but damn, I would highly recommend it to anyone with a 701-series headphone, and that’s even if you can get the Q701 at Amazon prices without paying import duties (which hovers around $250). Granted I haven’t listened to the much-touted Heed, but apart from that I haven’t really listened to an amp that really woke up the dynamics (instead of coloring the lower midrange) of the Q701 – really open throughout the whole frequency range, percussion hits are clear and hit low enough but the midrange isn’t anywhere near being artificially warm.

Tracks most used for this review, all ripped to FLAC :

1. One Flight Down by Norah Jones, from Come Away With Me
2. Deceptively Yours by Norah Jones, from The Peter Malick Group’s Chance and Circustance
3. Fantasmic by Nightwish, from Wishmaster
4. 10th Man Down by Nightwish, from Over the Hills and Far Away EP
5-6. The Mourning After and III Ways to Epica by Kamelot, from Epica
7-8. The Phantom Agony and Facade of Reality by Epica, from The Phantom Agony
9. The Boy Who Stole the Blues by Mighty Mo Rogers, from Focal-JMLab CD No.6
10. When You Say Nothing At All by Allison Kraus, from Best Audiophile Female Voices III
11-12. Rex Tremendae and Confutatis by Mozart, as performed by the Scottish Chamber Orchestra with Sir Charles Mackerras (conductor), PCM layer on SACD
13. Metropolis Pt. I by Dream Theater, from Images and Words
14-15. The Clairvoyant and The Evil That Men Do by Iron Maiden, from The Essential Iron Maiden ; originally from Seventh Son of a Seventh Son

The K518 was launched around 2008 and the LE in 2009 but they feel like they have been around forever. Most meets are littered with battered but proud 518DJ variants – recables, dampened, personalized – all owned by proud headphilers and respected even by the most ardent flagship owners for what they offer for the price. They sell fast in the used ads and most audio shops have them up front and center. What makes them iconic in these parts is that basically they are the best value basshead headphone going and if your skull can withstand the pressure then your in for a really fabulous and joyous bass experience for next to no damage in your wallet.

This year AKG have been on a roll upgrading a lot of their existing lineup (think K550) with new exciting yet understated and mature design presentations. The K618 is no exception and is probably one of the best examples, on initial sight, of this new design philosophy. Sporting a contoured metal type finish the whole package seems thoroughly modern and subtle and makes the K518 look thoroughly archaic and cheap when sitting side by side. The 618 design now shares more in common with the K550 than the previous 518 range and that’s not a bad thing in my estimation.

There is also a new 619 in the range but this is just the 618 with a cup color scheme and some “Made for ipod” extra’s thrown in, the sound is essentially the same by all accounts and so to is the design but with that splash of color. Priced to around $100 they compete directly with the the likes of Aiaiai’s Capital and TMA-1 as well as the Beats Solo and Denon’s 1 series. Those who had the K518 can tell you the 518 was king of bass but not in a holy unbalanced manner that the rest of the spectrum was non existent. The mids were reasonable and the treble present if somewhat low on articulation and detail. This was a consumer friendly headphone with an emphasis on fun and musicality without it being a complete mess. People enjoyed it and it flew off the shelves particularly when the LE came out.

Technical Specifications

Frequency Response 16Hz – 24000Hz
Maximum Input Power 2000 mW
Input Impedance 32 ohms
Weight 211 grams

The clamp of death gone?

The 618 more mature approach at around $100 is just the ticket for me with a K550 hanging around. I dig the more professional look and thankfully it has rid itself of some of the irritations of the K518 and kept the 518 signature largely intact for the same price.

Those who remember the K518 often giggle when someone asks how is the isolation and clamping power. The Spanish Inquisition didn’t have this much clamping power as the K518. The K518 is the king of nutcrackers and most felt their ears turn into finely crushed powder in 30 minutes or less if the fit was not spot on. It was the one true fault of the K518 and thankfully AKG remedied that on the K618 without loosing its superior isolation for an on-ear headphone. The clamp is still strong and perhaps after an hour or two you might want to rest your ears but it is much better than the K519 in terms of fit and clamp. The 618 is much more balanced and the comfort levels are excellent though not perhaps not on Momentum levels. The pads seem slightly thicker this time out also and now sport the current AKG design of having a large L and R on the inside of the cups for easy identification.

The cable is single ended non detachable sporting an extra 1/4 jack and comes also with a nice branded black pouch – one of the better pouches out there. The 3-d axis folding system on the K618 allows the cans to be folded into a nice small form factor for easy carrying around which I kind of wish the likes of Superlux would try out on their 631 but then again the 631 is a lot cheaper. The cups have a nice metal and quality crafted plastic finish and the headband much the same though the padding is a touch light and maybe a bit more would have been just right. They are quite a small headphone on reflection actually and though the band slides to fit I suspect those with a large head might have some slight discomfort issues. Thankfully that didn’t happen to me for a few hours but then I have had much worse on my ears so it is all in context.

How do they sound?

These are in no way analytical or accurate sounding headphones, the K618 is tuned for fun and musicality with a heavy slant to bass much like its older sibling the K518. This is a mid-bass specialist tuned for the likes of R&B and dance type genres that requires hefty bass response. The treble or top end is still a tad recessed and lacking in articulation and detail and the mids are not that aggressive though giving way to the up front and more aggressive bass emphasis. Having seen some frequency charts of the K618 elsewhere the bass db rating comes in a much higher than the rest of the spectrum which didn’t surprise me after some solid listening. Sure you can listen to this on a few other genres with a degree of satisfaction unlike the ATH Pro MK2 which is super heavy and bloated to the bass without anything beyond it. It is a slightly more forgiving experience than that but honestly it just won’t shine on anything other than beat dominated genres for me.

The sound stage for an on-ear closed headphone is as expected small and intimate which to be honest suits the genre matching for that dance hall experience. Compared to the Noontec Zoro the bass tuning is heavier and slightly less balanced than this bargain wonder so those wanting versatility with a good bass response might want to take a sound off between the two before choosing the K618. The Noontec shades it in terms of genres flexibility and the M50 has a much superior treble response and is more neutral sounding than the K618. It is not as dark as the TMA-1 even with the slightly rolled off treble compared to the TMA-1′s very attenuated treble response.

The K618 is a pretty easy headphone to drive out of most competent DAP’s. If you really must have a little juice don’t go for dark sounding amps like an E11 which will just serve to increase the bass load over all other aspect of the frequency. Try the E12 on low gain and low volume for a slightly better tonality match or the E07k and EQ a touch on the treble and bass and you might have a really solid working combination.

Final Thoughts

Personally if you are a basshead looking for a well built and solid performing bass tuned and fun headphone without breaking the bank the K618DJ is a very attractive option. I am not sure existing K518 users need to consider an upgrade unless the clamp was a huge issue and most likely that will mean yes for many. There are other options out there like the Superlux 631 and the Noontec Zoro that are cheaper but the K618DJ just looks classier compared to both and build wise I might give the nod to the K618 over the two cheaper options not to mention size and form factor.

(Again, for clarification, I bought this with my own money, so there may be a tinge of purchase justification, but not really)

The PXC450 comes with a very nice ballistic case, 6.3mm adapter, and airplane adapter. I bought these used and they didn’t come with the original packaging, but I’m sure it looks nice for something that will only be a dust-gatherer after the headphones are taken out of it.

Sennheiser construction is known to be rather suspect in their full-sized headphone line, with a number of users reporting cracked, or even snapped headbands on their headphones ranging from the HD280s, all the way up to the HD650. The top of the PXC450’s headband is plastic, but of the extremely resilient nature. Bending it doesn’t seem to cause any type of harm to the plastic, as it’s quite thick. However, to create a classy vibe, Sennheiser covered the headband with pleather with an embossed “SENNHEISER” across it. Strangely enough, instead of using foam as headband padding, Sennheiser filled the headband pad with air. It’s an idea I haven’t seen implemented in any other recently-released headphone (but my vintage Kosses have air-filled pads that, even after four decades, has not disintegrated, so probably a smart choice on Sennheiser’s part).

The earpads are extremely comfortable; unlike the similar-looking HD380 with paper-thin pleather on its pads, the pleather used for the PXC450’s pads is of much better quality, with softness almost comparable to the lambskin on Sennheiser’s more recently-released Momentum. The pads’ suppleness is actually a bit more comfortable than the leather pads of the Sony SA5000. If I haven’t made it blatantly obvious, I’m quite infatuated with the PXC450’s pads, which Sennheiser better have gotten right if Senn’s intent was to create a luxury headphone in the PXC450. I’ve been able to wear them for at least six hours at a time. Thankfully, the rest of the headphone feels the part as well. The replaceable cable is rather respectable. It’s a little thicker than AKG’s mini-XLR cables used with the K2XX and K/Q70X series. However, it’s rather short at around 4.5 feet, so these are definitely meant to be used with a portable player of some sort, at least designed as such.

The drivers themselves are not angled, but there is a thing of some sort (I really can’t explain it so I’ll post a picture of it) that…quite honestly, I really don’t know what it does. I’m utterly baffled by this, but if I had to take a guess, I’d assume it helps with the sound stage because the, uhh…protrusion is angled in such a way that sound could conceivably be directed…you know what, no. I really don’t know what Sennheiser tried to achieve here so I’ll wait for someone to correct me and add that explanation here. One more odd thing about the construction: the driver is not centered. Another picture will go along because a picture will describe it better than words can.

Now, to the NC system; it’s actually, in theory, a more user-friendly system than Bose’s. One of the main issues people have with Bose’s QC series is that they need batteries to function. Strange concept right—headphones that actually require batteries to output sound! Now, I’m sure there’s a reason for that regarding the topology of Bose’s NC circuit, but Sennheiser has done something fantastic with the PXC450: they have a passive mode. What does that mean? Well, if one does not particularly want to deal with NC and its inherent problems, that’s perfectly fine! The PXC450 does not require batteries to function if one does not want all that gizmo hooey for listening to music at home, which people may want to do when they hear how respectable the PXC450 sounds. This is not to say that Sennheiser’s NC system stinks. It doesn’t. On the contrary, it works pretty well. It doesn’t work as well as Bose’s system, or from memory, Sony’s digital NC, but for a headphone released in 2007, it’s actually kind of impressive. I’m not an NC guru, but…it works. I haven’t been on a plane in the time I’ve had the PXC450, but road noise is non-existent with the PXC450’s NC on. But the NC isn’t even the coolest part of the PXC450’s technology. On the side, there is a prominent circular button on the side with the Sennheiser logo. That, right there, is a magical button that says “Talk.” What does that mean? Well, if NC is on, the music is cut off and the microphones employed to pick up droning noise are used to pick up voices. The vocal range (not even going to try to attempt to BS the hertz, but it works) is amplified by the internal circuit, and the user will be fully able to carry out a conversation without ever taking the headphones off. It’s not perfect though; only the upper range is accentuated, so voices sound off, but in a pinch, it works quite nicely.

Now for the sound. I’ll split this into two parts because of the PXC450’s unique ability to work without its NC on. The system I’m using for this review is an iFi iCan or iBasso D12 paired with an iFi iDAC. The iCan is on the bright side and more analytical while the D12 is a bit warmer and fuzzier.

With NC off:

The sound in both modes is generally pretty light—some would say neutral, but I struggle with that description. If anything it leans more towards brightness, but not harshness. Starting from the low end, the bass really isn’t the most fantastic. It’s a bit light, a little more than my AKG K271’s, and reaches to about 40hz before completely dropping out, and the path there is slightly muddy unless it’s amped (even a CMoy would be enough). The details are a bit blurred unamped, sadly. However, in my opinion, Sennheiser’s implementation is better than attempting to do too much and end up with a muddy mess. Through my iBasso D12, the bass is better defined with much better timbre, but like I said earlier, even a CMoy would help to improve the sound.

The midrange is iffy. Since the bass is rather laidback, the midrange is able to come forward to shine. Vocals have nice timbre and are rather airy (for a closed headphone), but male voices can sound thin at times because of the lack of midrange body. Instruments have some timbre issues however. I could never really listen to an acoustic guitar on these because PXC450 always managed to make them sound a bit on the bright side. Same with brass instruments; the PXC450 emphasized the brassiness in the sounds of the horns, which is great if you want brass to be awkwardly accentuated, but for most of my listening, the PXC450 needed a slice of felt in front of the drivers to tame the highs. Female vocals, however, sound much nicer than males because of a large peak in the upper mids. Do take note, though, that the iCan is on the bright side. Through the warmest opamps put in my D12, the upper mids are tamed and I warmed up to the midrange. It’s not on the same level of my modded Fostex T50RP, but better than something like the Bose QC15. Though, I did notice that there’s a severe dip in the midrange with strings that not even a warm, midrange-heavy amp could solve. The end result is a glassy tone that can get uncomfortable.

Treble isn’t spectacular. It doesn’t extend very far and has a fair amount of grain (Think Audio Technica AD700 levels of grain and tone them down about 20%). But thankfully, it’s rarely sibilant. Other than that, there’s not much to speak of. It’s not impressive, but not grating, so that in itself is at least somewhat impressive.

Soundstage, even though the drivers are slightly angled, isn’t that wide or deep. Imaging is tight, but slightly blurred. Overall, the basic sound signature of the PXC450 sans-NC is bright, bass-light, and midrange-heavy, while at the same time having a rather brittle midrange. It’s definitely strange, but at the same time, quite interesting. It sounds similar to a closed version of the Sony SA5000, but with less detail and a blurrier sound.

With NC On:

NC on changes the sound rather significantly, like most NC systems do, but Sennheiser’s implementation comes with a twist.

Usually, NC circuits add bass. Therefore, it completely mystifies me as to why Sennheiser’s NC circuit decreases bass. Like, seriously; the PXC450 was a bit south of neutral in bass before NC, but with NC, it’s basically dropped off the earth. There’s very little definition, to the point where even I’m not satisfied, and I’m more than fine with the rather anemic bass levels of the SA5000.

With the lowered amounts of bass, the midrange becomes more upfront, but for some reason, it sounds a little smokier. They sound much more intimate, less glassy. It’s most likely due to the decreased treble that accompanies the NC EQ. So basically imagine the mids from the top section and remove most of the negative parts and add a little haziness. It ends up being pretty soothing.

Treble with the NC is a bit subdued; like the treble, it’s less glassy, so the end result, while still grainy (even more so actually), is less grating. That’s basically it.

The rest is mostly the same. With NC, the sound is a bit paradoxical. It sounds even more bass light, but at the same time, it sounds warmer, more natural. Or maybe not. I’ve never been as mystified by a headphone’s sound until now.

So…that all looks like a horrible lambasting against the PXC450. And it should, because its sound really isn’t good…unless you EQ it. Thankfully, the PXC450 is quite receptive to EQ, and even better with something like a ZO. With EQ, and to my ears, it surpasses other popular NC headphones like the Bose QC15, Ultimate Ears UE6000, and Klipsch M40. So all in all, it’s a rather mediocre first try at a flagship NC headphone without any adjustments, but with some very simple adjustments, it makes for a very capable headphone…at half MSRP. Would I recommend it? If you can get it for under $200, then it’s a great deal for a headphone with a great NC system, especially due to its Talk Through feature. But keep in mind that half of the price you’re paying is for the NC. If you can EQ, then it’s an even better deal. As for me, I sold it to someone whom I hope is very happy with it. With all its quirks, I’ll miss it. With its faults, it should have been easy for me to get rid of it, but there was something about its oddness that made me like it; it was like Sennheiser tried so hard to rush out a flagship NC headphone that they hastily threw an HD555 driver in a closed frame and hoped it sounded good. In many ways, it was so close to being something other than bad that I feel that if Sennheiser actually spent more time tuning the driver, this wouldn’t be one of the only comprehensive reviews of the PXC450. To Sennheiser, this is the second product I’ve had that was close to sounding good—even great, but fell just short. Why? I completely understand that you don’t want to cannibalize the sales of the HD600-HD800, but with something as miserable as the PXC450, would a little more effort be the worst thing in the world? There is definitely a market for NC headphones that also sound good. The NC market definitely wouldn’t intrude in the open headphone’s business, so what gives?

Technical specifications

Input impedance: 50 kΩ
Maximum amplification: 18 dB
Frequency response: 1 Hz – 100 kHz (-1 dB)
T.H.D.: 0.001% at 170 mW / 250 Ω
Channel separation: > 89 dB
Output power: 100 mW / 600 Ω | 170 mW / 250 Ω | 150 mW / 30 Ω
Unweighted signal-to-noise ratio: > 100 dB
Output impedance: 100 Ω headphone output
Power consumption: < 15 W via internal, controlled power pack
Audio connections: Rhodium Plated Headphone socket, Audio inputs
Mains power input: 110 – 230 V AC, 50/60 Hz (switchable inside)
Dimensions: 185 x 255 x 60 mm
Weight: approx. 2.3 kg

The tax man wants one also!

I am trying to get away these days from waffling on about the packaging things come in even though for some it is pretty relevant and a niche identifier. I thought I reached the limits of endurance as to what a brown box can do for my sense of purchasing satisfaction but actually Rein Audio’s X-Phone is one of the nicest headphone amp cases I have seen in the market to date. For those in the know it is very Asian in thought and design with a thin ribbon type elastic holder (gold colored) wrapped around a elongated stiffened black box with the logo smartly presented on top and a foam cut interior and a nice little dust protection bag and power cable. No RCA cables or extras in that way. Loved it, so did the customs guy though and charged me an extra $10 for import tax, he couldn’t believe it was the price that it was – naturally I coughed up after they stopped fondling it.

So what is the X-Phone?

Looking at Rein Audio’s road map of product delivery it was only a matter of time before something like a headphone amp was released. You have the DAC and the dedicated AMP so yup out comes an addition to one of the fastest growth areas in audio today – the headphone market. Speaking with Jason though I got a feeling that the X-Phone though had a target in mind when released and that was a dedicated headphone amp for higher impedance headphones. Certainly the rated 100 ohm output impedance on the amp itself lends credence to that suggestion. Great then but how will it handle the planer market? This is a growing market guys, and with superstars like the LCD-2 with a nominal impedance of 50 ohms but with a hungrier demand for power the match is going to be interesting.

The secret is in the OP?

It was just blind luck I grabbed my trusty AKG K550 (32ohms) as my initial unit for the burn in process. Fast, articulate but very thin and a stack of unwanted sibilance on some female vocal tracks. Unforgiving? Maybe. Burning in and high impedance output? Most likely. Opamp? Aha now that was an interesting part two of my discussion with Rein on the amp.

After calming down the team’s initial panic that I didn’t like the amp and really just finding the right match I did ask what the Opamp was and the answer was a dual MC33078 setup instead of “everyone’s favorite” the OPA627 or such Opamp’s as the OPA2605 or the NE5532. Interesting choice because the MC33078 is not the most expensive Opamp in the world but has a very fast slew rate and clear signal that many would describe as clean, fast, expansive with a good sound stage but slightly lacking in impact and meat in the mid to lower range of the frequencies. My take on the tonality of the X-Phone as a whole doesn’t veer too far away from that interpretation to be honest.

Overall the X-Phone has a very pristine and clean presentation with some wonderfully detailed highs that sparkle without it ever being accused of being too hot or grating. The attack is fast and articulate but with a slightly thinned out midrange and a tight impactful bass that doesn’t sound in anyway bloated or boomy. The X-phone is built for speed and clarity with an added bonus of having a nice spacious sound stage.

Juicing it up

The power on the X-Phone though not specifically designed for the planer market handles the planers pretty well though tops out with the HE6 giving a slightly leaner sound that is filled better with the likes of the Mjolnir’s 10w per channel. I found with the HE6 the dial was almost full tilt but a respectable level could be found around 2-3pm on the dial whereas the $750 Mjolnir does it all and balanced for around 12 noon on the pot or less with the HE6. Switch the Mjolnir to single ended though and the dials are much more similar. The same results for Hifiman’s EF5 little headphone bazooka tube amp which was pretty comfortable at around 12 noon for the HE6.

Comparing with the Audio-gd C-2C the C2C had a touch more juice single ended than the x-phone. The C2C ran at 1pm on the dial for the HE6 for similar volume levels at 4pm on the x-phone pot. I did find the C2C top end a little more muted and with slightly less sparkle than the X-Phone and a slightly smaller sound stage and not quite as detailed but these differences were subtle. The X-phone though handled the LCD-2 V2 pretty easily as also the HE400 and most high impedance headphones such as the T1 and the HD800 without too much effort or strain. So the X-Phone really isn’t going to win awards for power hungry planers such as the HE6 but its no slouch with pretty much everything else. It really is just a question of matching to your own preferences.

Matching

Its not a warm amp or a thick analog sounding amp and the bass is very well controlled giving a sense of spaciousness without loosing what I think is a more analytical solid state sound than a warm bass heavy musical sound. The treble is very fast and articulate and worked quite well with the LCD-2 v2 without loosing that wondeful natural flowing presentation that so many LCD-2 fans go for but not so well with the more humble AKG K550. The AKG K550 really does need tubes or a warm signature such as the Just Audio UHA-120 to thrive or else the treble will burn too hot for quite a lot of genres. So it was with the X-Phone for my personal taste leaving the mids far too thin and the highs with too much heat and sibilance.

Given Rein Audio’s previous statement that the better matching will lay with higher impedance headphones and that 100ohm output stage reaching for the T1 and the HD800 seems the next logical direction. Paired with the X-Phone the Beyer T1 was never going to loose was some might describe its sparky top end but I did find the presentation to be never too hot and the bottom end very well extended tight and well controlled. The T1 is any headphone best demonstrated what the X-Phone is all about – a neutral top down engineered audio tonality that is clean and fast but bites in the lower end when required. The mids on the T1 are not the thickest with the X-Phone but it doesn’t lack detail thankfully. Nothing is claustrophobic or muddy in that sense and the T1 is a good headphone to capitalize on that strength. I do wish though in the end though there was a tad less fizz in the top end with the T1 and the X-Phone combo such as what I got with the LCD2 rev 2.

Surprisingly for me I loved the HD800 and X-Phone pairing for acoustic and classical genres. Just perfect. The detail and clarity was excellent and the top end fizz inherent in the T1 seemed far less prominent on the HD800 which I didn’t expect at all. The X-phone and HD800 combo on Max Richter’s re-composition of Vivaldi’s Four Seasons was incredibly articulate and involving with no loss of that huge sound stage the HD800 is famous for. There is something about that bass extension also on the x-phone that performs so well. Its not thick and heavy but it hits hard when it needs to even on the HD800.

Final Thoughts

When I first picked up the X-Phone I really wasn’t too sure but with careful matching I really grew to admire the X-phone strengths as a frighteningly accurate, clear and fast headphone amp. It’s presentation is top notch and the current price right now is very appealing indeed. The higher impedance output does mean though that you need to think about which headphone works best combined with that cleaner tonality and for me matching with headphones that are not inherently bright perhaps even dark such as the Senn HD650, the Hifiman HE400 and the LCD-2 rev 2 are going to give better results. I still can’t believe though how enjoyable I found the matching with the HD800 for my nerd music – did you guys tune with the HD800 as a reference at any point in the process? Most curious indeed.

Rein Audio Website

I am starting to realize though that there is a bang for buck BA below the more premium versions that basically share the same drivers, the Knowles TWFK dual balanced armature driver and some basic research seems to suggest that these variants all come from the same factory shop floored tuned or branded to the buying company’s choice. Fair enough and they do seem to include ones that I have enjoyed before such as the FA DBA-02, the Brainwaivz B2 and the UE700 to name but a few so when David from Top Dog in the UK suggested and sent the Rocket Sounds R-50 and mentioned it was a dual BA then I wasn’t overly shocked to find it looked much the same as those previously mentioned. So yes they do fall into that Knowles gang but what you might be more interested to know before you shake your head and say another dual BA clone, is that the R-50 shakes it’s tail-feather for substantially less cash. Almost one third or half less in fact at 80 quid in the UK and $120 in the US. Let me tell you this, if you are a neutral head and you enjoy the dual BA signature then you are going to enjoy the R-50 and have a few pennies in your pocket from the savings as an added bonus.

I can honestly tell you I cannot figure out, all things being equal, how Rockit Sounds managed to squeeze the price down significantly on the R-50 more so than than Fischer or Brainwavz so I can only presume there is more margin to play than I previously thought and the R-50 could herald a wholesale change in cheaper dual BA pricing which would be more than welcome. Packaging wise there is a little less in the box than say a DBA-02 which throws in a few more tips than the R-50 but how much does a few flanges cost these days? Not a whole let to be fair. I do welcome the stiffened over the ear wiring more than the slightly awkward stiffened plastic threaders on the DBA-02. I know it gives you the choice to wear over or straight down but for me over the ear is the way to go with these designs in my experience for a better overall fit in my lobes. Your mileage may vary as always with tip fitting. What you do get are three sized silicon tips, a handy little generic pill case and an airline adapter. Nothing extra such as a cleaning comb or double or triple flanges sadly but hey we are talking $120 here so savings had to come somewhere and to be honest the tips are just fine for me.

Build wise I think its on par or very close to it’s higher priced siblings such as the DBA-02 though not as good as the more established players such as Westone. It does sport a fairly solid looking braided cable though stress on the earpiece is a possibility though much less so on a tough and durable looking Y-split packed with decent strain relief on both sides. The earpieces themselves are plastic encased in a silicon rubber sleeve. The earpieces themselves are pretty small actually for Dual BA when compared to say the UE TF10 or even a Westone. The connection is terminated with a standard straight 3.5mm jack. Pleasingly the cable is one of the best I have sign at this price level for minimal memory and it neatly untangles itself in a few seconds without any hassle. I have had a few that drove me nuts but the R-50 braided cable is not one of them.

Fit wise they were excellent for me out of the box. Isolation and seal with the stock tips was above average and nothing felt loose or uncomfortable. I guess my ear was pretty much made for small IEM’s or custom ones until I remember I was the only audiophile in the village who wore the TF10 without fit issues either so maybe that is too lucky to be true. The rubber sleeve on the earpieces added to the sense of comfort also which I can only presume was on purpose after some in-house testing since I have not really seen that before on similar IEM’s.

So I mentioned I had tried a few of the Knowles gang of IEM’s before such as the Q-Jay’s and the DBA-02 so to compare with these I would have to say there is a slight but noticeable difference with the R-50 that I think most people will find quite likable. Quite a few times I mentioned it’s rather energetic or hot treble orientated presentation that didn’t bond well for some and ok for others. Truth be told the R-50 shares many of the same characteristics but only it seems Rockit have smoothed out that spiky top end just enough to allow you to focus on listening rather than matching. True enough it is not mellow mid-centric or basshead IEM like an IE80 or my own UM Merlin’s but the articulation and speed is very much there and the top end is just the right side of bright to be much easier on the ear than the DBA-02 or even the Q-Jay’s.

It is not all plain sailing though. The R-50, much like the rest of the Knowles driven IEM’s still has a panache for rejecting bad recordings like they going out of style and if the tracks are sibilant then you are going to get sibilance. These are no banshee tamers guys, they will beat the hell out of crappy recordings and spit fury on the letter S if you have it in your tracks. Well recorded means well played for the R-50 but the good thing for $120 they play it really well indeed and in some cases better than it’s more expensive dual BA siblings.

Play the R-50 to it’s strengths and it can be fantastic value for $120. Max Richter’s reworked Four Season’s in FLAC is clean, detailed and very articulate with a surprisingly well presented sound stage. No doubting the accuracy of the treble with plenty of sparkle to lift that fast paced violin work. Yet the lower end and mid’s have a slight degree of warmth worked into it that is not present in the DBA-02 that whilst doesn’t offset the slight lack of bass impact typical of this driver it does present a slightly thicker more ear friendly bottom end and more natural mid’s presentation when required.

Matching with Amps is somewhat easier than with other IEM’s I have come across with the slightly higher impedance rating at 31 ohms than the usual 16 or less. I tested these out of some high end amps such as ALO Audio’s National, International and Continental V2. The International was superb with the R-50 giving it a really natural presentation with a fantastic sound stage on low gain (no need for higher) and for overall quality my preferred choice out of the 3 I tested. The Fostex HP-P1 for igadget lovers was also a pretty good choice with it’s laid back warm and smooth tonality matching quite well and just the right amount of power for the R-50 to shine without loss of control. I wouldn’t match it with the FiiO E12 – too powerful and challenging to control despite it’s warmish tonality. The E11 might be a better budget amp if you are sticking to your guns on budget control.

Final Thoughts

I had fun with the R-50, and it took me a little by suprise to be honest. I fully expected another bright sibilant but detailed and fast dual BA IEM much like the DBA-02 and to some extent I got that but the R-50 is somewhat smoother and less taxing to the ears than previous variants of the TWFK Knowles driver units I have heard before without loosing that detail and top end articulation that it is known for. At $120 or 80 quid (UK) I think its a pretty good bargain.

Tech specs

Driver Unit / Dual Micro Balanced Armature
Impedance / 31 ohm at 1000Hz
Sensitivity / 110 dB
Frequency Response: 20-20,000 Hz

For further info and buying:

Rockit Sounds main website

Top Dog Headphones

The era of the triple stack was upon us with all manner of amps coming into play under the little SOLO silver box and the igadget firmly entrenched on top. Just about every local meeting I have been to in the last year has the now instantly recognizable sighting of a triple SOLO CLAS stack. It is a pity the 5.5G is out in terms of compatibility but that is an issue been put to bed a long tie ago with the first release so with that in mind MP3, ALAC etc is the go to format and not FLAC for these devices as of now due to Apple license restrictions no doubt.

But times move fast and Sony and Fostex have jumped on the bandwagon with more evolved igadget interface audio products such as the HP-P1 and the PHA-1 so Cypher Labs have returned with a new updated version of the SOLO, The SOLO -db, which ups the ante and for me clearly establishes it’s audiophile credentials beyond simply a consumer friendly amp for the igadget fanatics with picky ears.

So what is difference from the original SOLO and the new SOLO -db?

Features

• Automatic dual source input from either computers or Apple devices
• USB audio resolution up to 16/48 from Apple devices
• USB audio resolution on Mac (natively) or PC (with included driver) up to 24/192
• 14 hours playback time and charges Apple devices
• Fully balanced analog line-level output (4 pin)
• Single ended line-level analog output
• Digital S/PDIF output
• USB mini-A input allows input from computers (USB A to USB mini-B) or Apple devices (using 30 pin to USB mini-a cable)

Well from the casual observer from a distance there is not much physically different. The classic silver box design and logo and decals are all similar apart from the -db moniker. It is only when you look at the front and back panels do you see the major differences or upgrades.

The first major one is the ability for the SOLO -db to output in balanced mode with a 4-pin balanced output connector at the back along side a standard 3.5mm single-ended input mode such as the one found on the original SOLO. Paired with the ALO Audio RX3 balanced amp this is a perfect form factor and functionality fit and true enough Cypher Labs had this in mind when designing the SOLO -db. Right now the SOLO -DB is the only device of it’s type that sports the balanced output and combined with the RX MK3 you actually have a seriously powerful portable stack that can easily drive the LCD-2 and make a good go of the HE6 in terms of power and audio quality.

The second big change is actually on the inside with a change in DAC chip from a Wolfson to a 24 bit AKM4396 which delivers a slightly broader spectrum and smoother sound than the previously slightly bright original SOLO. Thankfully the new SOLO -DB is compatible with the lightening connectors on the latest iPods and can deliver 24/192 sampling which is about as good as it gets for everyday playback. The coaxial output and the usb input that runs either your idevice or direct from your PC allows the SOLO to also become a little something more than a glorified portable DAC – it allows system building around the SOLO. Combined with that 24 bit 24/192 DAC inside and the balanced or single ended output you can really see how a desktop build is now very possible with the SOLO -db.

On top of that the new SOLO can charge your idevice simultaneously during playback or when switched on and gives a rated 14 hours playback time which considering what it is designed to do is pretty good for a portable device.

I really enjoyed the original SOLO but these new features make the SOLO -db a very relevant audio DAC indeed and has a lot more potential than I gave it previously outside of an iPod bolt-on for audiophiles.

How does it sound?

The new SOLO -db DAC has some definite advantages in the older original SOLO with a much more natural and liquid sound than the older brighter and perhaps harsher SOLO. The edge on the treble has been taken off slightly and the mids and bass seem tighter, more impactful and produces a much better texture than the original. The new SOLO -db just seems much more coherent and matured than the original ‘sparky’ edition and combined with the 24/192 DAC just sounds a lot more convincing to me from bottom to top in terms of detail and articulation.

Previously I had reviewed the SOLO with the RX MK2 and found it to be a fantastic upgrade in terms of iPod to amp to ear but over time the combo felt a bit bright or hot through still very exciting and dynamic. Fatigue was somewhat higher for me on that combo than when I tested and compared the Fostex HP-P1 recently. Although the Fostex’s built-in amp was for me a weak link I found it’s more laid back tonality and lower power rating to be a bit more suited to IEM’s and long listening periods where absolute clarity was not a must. The Fostex is still the smoothest of the two but the SOLO’s superior ‘weight’ and articulation now makes it the more exciting of the two choices. Combined with the option of adding any headphone amp of your choice and balanced at that makes the SOLO a far more involving experience for me personally.

The triple stack matching quest

Of course mixing and matching with amps is a matter of taste and matching. Being a 4-pin balanced unit now it just screams to date and marry the ALO Audio RX MK3 amp and I suspect most will grab the -db just to get a completely portable and fully balanced system. The Solo and RX MK3 have essentially the same form factor and to be honest one is built for the other and I don’t think Cypher Labs would really shy away from that statement as the default choice for balancing the -db with a good amp.

Now with regards to going single or balanced being better or worse lets side step that slightly for now as technically the audio quality is not what is at stake here but the ability to drive headphones in balanced mode that may not be possible in single ended mode. I don’t honestly believe the tonality of the DAC chip differs significantly between balanced and single ended but what you do get it a more even playing field in terms of what headphones you can try and drive satisfactorily with a good balanced setup. The actual balanced input stage will likely be superior to the single stage plus there will be an overall lower overall noise level in output. Given that some tastier headphones will have pretty long cables be them stock or modded the noise reduction levels is a big benefit when going in balanced mode. That is pretty much what you get with the -db and MK3 – a powerful balanced system with great nosie reduction, steady signal and the ability to drive fantastic headphones such as the LCD-2 and the HE6 better than most combinations out there right now in the portable market.

But what I found to hit the sweet spot in terms of pure tonality and driving power was the -db and the International which is a balanced DAC/AMP also from ALO Audio that just had a far more soothing top end than the RX3 and a really liquid mids section that belies it’s solid state nature. The match here was devilishly addicting to say the least and whilst the RX3 is slightly more exciting and dynamic I found myself gravitating to the International a bit more. The form factor match between the International and the -db is a bit off due to different DAP design considerations and I will explain more in my review of the International shortly.

Matching with the Continental and of course all the sweeping strengths of the Continental such as those liquid mids (v2) came to the fore but battery wise you are going to be charging that v2 long before the CLAS -db so that is something to consider if you are going portable.

Final thoughts

The -db is a step up from the original SOLO in many ways. Balanced output, a superior DAC chip, higher sampling rates, ability to charge your idevice on the go and plug it directly into your desktop system makes it a really relevant device for those on the Apple ecosystem and frankly most of us are in some form or another. True the competition is really hot now with increasingly powerful DAP’s such as Ibasso’s DX100 and the AK100 from iRiver as well as existing direct competition from Fostex and Sony for portability but Cypher Labs did it first and with the -db they are ahead again. If something comes out that does the same for Android USB on the go audio like a firmware update then you have the go to audiophile portable DAC for 2013.

The V-Jays out of the box is quite an unassuming little headphone. You would be forgiven for missing it entirely in any headphone shop when casting your eye on a long line of gaudy colored fashion cans such is it’s blandness in the fashion stakes.

Coming in plain black (my sample) it is quite lightweight, perhaps even a tad fragile, can fold inwards with a dual entry short cable and has a detachable extension cable, with small on-ear cups and squarish lightweight pads of not much bigger size with a spare set in the box. All rather standard fare to be honest though the box is very nicely designed and carries a bit more lure than the sometimes messy plastic blister type packs you get at the lower end. It’s not quite Aiaiai Tracks in terms of packaging but somewhat nicer than the Koss PortaPro plastic wire cutter packaging. And yes we could seriously do with a small carry case like it’s bigger brother the C-Jay.

Fit wise you do have to fiddle around a bit to get a sweet spot given its small cup radius and open design so isolation is not high on the list of strong features here. It is more comfortable than the Tracks or say the PX-100 II with a fair degree of flexibility and adjustment in the headband on offer for most head shapes but I found the angle of the cup to be slightly against the contour of my own ear shape hence the fiddling for that sweet spot. The pads themselves are pretty soft and good texture not to grate or provide any level of discomfort though and I don’t see any long term fatigue in wearing what after all is a very light headphone. I personally think a single entry would have aided the form factor fo the V-Jay being so light and small but the dual entry cables are pretty durable looking and I would not have any fears of them ripping to bits within seconds if I had these out and about. The extension cable for me is pretty much on always as without it the V-Jay’s reach feels a tad too short.

Audio wise the V-Jay’s though are a bit of a revelation on par to what I experienced when I first heard the Aiaiai Tracks. If you want rich thick musicality I think I still prefer the Tracks but the more balanced articulate nature of the V-Jay’s make it the perfect A/B combo with the Tracks for out an about ultra-portable solution. The V-Jay’s are more for the neutral crowd who want to rock out a bit and get away from ultra-analytical cans and throw on a bit of musicality but don’t want to loose that sense of accuracy and balance they usually enjoy. The Tracks and PX-100 II are darker and perhaps richer and thicker and have a huge sense of fun slapped all over them but the V-Jays have them licked a bit on clarity and detail without loosing too much fun factor.

As such the V-Jay’s are a portable master for genre flexibility and perform much better than the Tracks or PX-100 II on a wider range of music. Additionally the V-Jay’s do all this whilst retaining a very smooth tonality and without a hint of sharpness of irritatingly high levels of sibilance which is just magic to my ears. The open 40mm drive design does add an added dimension or sense of space that is not there on closed cans such as the Tracks which helps a lot on more intricate songs that require air to breathe and shine.

Don’t expect astounding levels of accuracy and of course the sound stage is quite small and flat and doesn’t convey imaging quite as good as large on ear or circumaural headphones but you are not buying the V-Jay’s for this function. These are on the go headphones for quick delivery and quick listening and they do this very well indeed.

I like the fact also the V-Jay’s are not bass-shy either with an ever so slight bass bias tuning but nothing that would throw you off the essentially neutral and clear tonality. It’s tight, punchy without bloat and coherent. Much like the PortaPro the V-jay’s display their abilities equally well with rock or dance without accusations of bass bias. Much will depend on finding that sweet spot though as one fatal move and the bass just waves goodbye in a flash.

If anything the slight mid-range thinness on heavier rock tracks can lead to me switching back to the Tracks more often than not. The warm thick delivery of the Tracks sometimes favors heavier chugging guitar work but on solos and chops the V-Jays has a speedier and more detailed delivery.

Final Thoughts

I enjoyed the V-Jay’s a lot as a companion to my other favored on-ear ultraportable, the Aiaiai Tracks. I can’t say the V-Jay’s dominate the Tracks, that rich warm musicality tonality of the Tracks just edges out the V-Jay’s for me on heavier rock and dance music but the V-Jay’s is certainly a more nimble articulate performer that is more at home with music that demands a more balanced approach and a top end that can actually conveys a bit more detail than what the Tracks can offer. Its a brighter headphone than the PX-100 II but a cleaner headphone and for those looking for a nice degree of musicality without loosing detail the V-Jays is the perfect solution.