Sound Impressions
The following sound impressions of the iBasso DX270 were completed using the PMG Audio Apx (V1), the TANGZU Monkey King, Elysian Acoustic Labs Annihilator 2023, and the Meze Audio POET.
Summary
If I had not just come off the back of the DX340/AMP18 review a few weeks ago, I would have struggled to identify the DX270 sound signature as classic iBasso. It is so different from their older DAPs.
Not that this is a surprise; they have been moving in a more organic and natural-sounding direction with gear such as the D16 Taipan and the D17 Atheris.
Rather, the DX270 is perhaps the boldest switch-up to date, especially when compared to neutral offerings such as the DX260.
When I say bold, it doesn’t hold back with a thick, full-bodied analog sound that dynamic or bass-heavy IEMs such as the Monkey King take to like a duck to water.
Vocals are also ‘big’, especially with the NOS filter, sounding impactful and rich in texture. They do a very good job delivering enough even-harmonic undertones to ensure sibilance is never a distraction when listening with brighter gear such as the Apx.
Despite the impressive extension at both ends, at least when compared to the N6iii/R202, I hear a slight taper in upper-order harmonics. However, it is subtle but just enough to avoid peakier upper-mids performances with the Apx and Annihilator 2023.
I am less of a fan of the OS filters (D2-D5); they sound relatively muted, though I appreciate that the more relaxed vocal imaging might suit those with gear that has a strong 1-4k emphasis.
For example, smaller staging IEMs such as the VE10, the DX270’s NOS filter tuning can seem quite dense and forward-sounding. The OS filters introduce a bit of calm to the presentation, pulling back from NOS’s instant energy.
Otherwise, NOS (D1) is my default DX270 filter setting, sounding more vibrant, with superior vocal bloom and a stronger fundamental frequency in low-end notes.
Desktop Mode
If you are planning to use plenty of headphones with the DX270, then the 12V DC-In Super Gain mode is a ‘game changer’ and almost mandatory for me unless you crave portability.
If you have used this option before on iBasso gear, such as the flagship DX340 or the D17 Atheris, you will appreciate the upswing in dynamics and the generally deeper soundstage it creates with more demanding headphones.
For example, with the Meze Audio POET in battery mode, it’s decent, nice slam, thick vocals, but it will instantly sound flat and moderate in staging dimensions once you activate DC-IN Super Gain mode on the DX270.
I heard far more width in its imaging, improved vocal bloom, and a more impactful, decisive low-end performance from this pairing with the additional voltage and power.
Synergy
IEM Pairings
I tested the balanced output of the DX270 with the PMG Audio Apx (v1), Vision Ears VE10, the TANGZU Monkey King, UM’s Maven II Crescent, and the Elysian Acoustic Labs Annihilator 2023.
With all IEM pairings, I preferred the more vibrant bloom of the D1 NOS filter compared to the more muted OS filters.
There seems to be a slight gain or dB lift with NOS, with vocal and percussion presence the main beneficiary. This better suited the Apx and Annihilator 2023, which have a stronger 2-4k presence.
Both IEMs’ vocal impact was strong without sounding abrasive. Not quite as sweet-sounding as the flagship DX340 with AMP18, but successfully avoiding the DX260’s sharper overtones from the same pairings and recordings.
I also heard an excellent sub-bass response from the Monkey King and the Annihilator. They sounded huge in the lows with the DX270.
They sound well-endowed for bass to begin with, but there is a rich, textural, but precise quality to this pairing that the likes of the DX260 struggles to match.
Without PEQ, I was less enamored with the VE10 pairing. It’s too full and rich-sounding, and with that subtle treble taper from the DX270, it is perhaps a bit too rounded in its note quality.
I usually prefer a more neutral source to keep the VE10’s dense, intimate performance from sounding too dark.
The Maven II Crescent sat somewhere in between for me. It does well in terms of clarity and low-end response, and isn’t as overwhelming as the VE10/DX270 pairing.
In NOS mode, it teases out the more muted vocal imaging of the Maven II better than the OS filters, but it just didn’t wow me as much as the first 3 IEMs.
Headphones Pairings
I tested the DX270 with the Austrian Audio Arranger, the Abyss JOAL, and Meze Audio’s POET.
The Arranger was via the DX270’s SE 3.5mm output, and the other two via a 4.4mm balanced output. All 3 were set to high gain for the DAC and amplifier, with NOS mode on by default.
It’s probably my fault for picking 3 headphones that veer more to the warm side, because aside from NOS powering over the more muted D1 filters, I found myself reverting to a small 3-4 dB PEQ peaking filter around 5-6k to get the harmonic balance just right on the POET.
The Arranger doesn’t suffer from a lack of dynamic range (or power) from the single-ended output. However, I suspect it will sound deeper and punchier connected to the DX270’s balanced output once I get my hands on a proprietary 4.4mm cable from the company.
The JOAL was a surprise on the DX270 as I was expecting it to sound a little too rounded and dark, given its relaxed highs, but it actually came across as quite balanced and spacious with good vocal presence.
You could EQ the treble a little more if you needed more spice, but for bright vocal recordings, it sounded just right.
The POET was a shade too rounded in note quality in the upper-mids and highs. That’s where a PEQ peaking filter (0.7Q) of about 4 dB in Mango felt about right, adding some contrast and balance to percussion strikes and upper-register vocals.
Digital Output Performance
The DX270 has two digital outputs: coaxial and USB audio (OTG). I tested both connections with the Topping DX9 Discrete desktop integrated DAC and amplifier.
As with previous A/B’ing between these two I/O on other platforms, I prefer the coherent, steady, and evenly balanced sound of the coaxial connection with the Topping DX9 Discrete
The USB connection is more exuberant, more dynamic in its delivery, and you will find it a more exciting sound signature.
However, it has a little bit more spice in the highs, a slightly brasher sound with percussion in particular dominating with brighter-tuned gear such as the PMG Audio Apx.
Again, for some, this will add to the high-energy sound of the USB output, but over longer listening periods or for more soulful music, the more blended, smoother sound of the DX270’s coaxial output feels more suited.
