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Explanation: In contrast to the full review, the QUICK VIEW only provides a brief tonal and functional overview. Either I haven't been able to spend enough time with the headphones, where the rating has to be taken with a grain of salt, or I don't consider it particularly worthwhile in terms of sound. I will mark which of the two variants applies with "Time", or "Average". The weighting of sound and handling is 2:1. frequency range: 5 - 23000 Hz | sound pressure level: 104 dB | impedance: 80 Ohm | dynamic Sound 8.4 Bass Mids Trebles Stage Imaging 8.5 8.5 8.5 8.5 8 Handling 8.5 Processing Comfort Earpads Headband Weight 9 8 8 8 450 grams Total 8.4 Price 1000 € Quick View reason: Time Intro The FOCAL ELEAR is of the exalted home headphones of the company together with the ELEGIA (closed) still the most favorable representative with scarcely 1000 € RRP, even if the prices vary strongly and one should look around for offers. The brand FOCAL impresses with its noble design and the use of high-quality materials. In addition, a house signature can be easily identified, which can be described as warm & neutral as far as possible, even if there are exceptions (e.g. STELLIA). Handling The ELEAR looks more valuable from the outside than it feels. At first sight you might not notice the use of plastic on the headband or the rather "grubby" pads. Grubby in the sense that they will quickly absorb dust and dirt due to the soft and rough microfiber padding. My ear slightly bumps against the inner parts (plastic surround of the driver), which becomes a bit unpleasant in the long run. Nevertheless, the ELEAR is certainly something for the eye as well as in the workmanship excellent and it is very comfortable to wear overall, even if the well padded headband fits tight. The cable is a bit thick, heavy and long (3m - 3.5mm jack with included 6.3mm adapter). Due to the open design it is certainly nothing for travelling, although with 80 Ohm and a sensitivity of 104 dB it works well on portable players and USB DACs. Due to the double-sided feed (mono jack - 3.5mm) the ELEAR can be operated at a balanced output, with an appropriate cable. Sound In terms of sound, the ELEAR can be described as warm/neutral. For me there is nothing that stands out particularly, but that doesn't mean anything bad, because it covers the whole frequency spectrum with high quality. I find it convincing, especially in terms of sound. However, I miss the liveliness and brilliance. It sounds almost boring and too well-behaved, especially in the mids, which lack a bit of bite. Tonally, however, they are correct for me, just not very musical. The bass is pleasantly present for its neutral alignment, but the kick could be a bit more solid and in sum a bit more direct. So it is of the softer variety and extremely linear. In the high frequencies the ELEAR has a good transparency and resolution, but here the one-sided emphasis around 6 kHz and the rather high level drop around 4-5 kHz interferes a bit, which makes it seem slightly unbalanced and sometimes almost a bit too bright, even though this is very song dependent. The separation could be more differentiated due to the muted mids and the stage seems big, but the imaging doesn't fully exploit this potential. Outro For me the ELEAR is a small FOCAL CLEAR, because they are very similar in sound. But the CLEAR has the upper hand in all areas. A tonally and technically very good headphone, but you have to like the relaxed and (forgive me profane expression) partly boring sound presentation. The FOCAL ELEAR is too expensive for me as a complete product, even if price-performance is not considered in the evaluation. Thanks to K55.ch for providing the headphones and the exciting day in the showroom. https://www.k55.ch/focal-elear-offener-kopfhorer-80-ohm-dynamisch-11675.html

Explanation: In contrast to the full review, the QUICK VIEW only provides a brief tonal and functional overview. Either I haven't been able to spend enough time with the headphones, where the rating has to be taken with a grain of salt, or I don't consider it particularly worthwhile in terms of sound. I will mark which of the two variants applies with "Time", or "Average". The weighting of sound and handling is 2:1. frequency range: 5 - 40000 Hz | sound pressure level: 106 dB | impedance: 35 Ohm | dynamic Sound 8.7 Bass Mids Trebles Stage Imaging 9 8 8.5 9 9 Handling 8.5 Processing Comfort Earpads Headband Weight 9 8 8 8 450 grams Total 8.6 Price 3000 € Quick View reason: Time Intro With the STELLIA, FOCAL proves after the rather semi-successful ELEGIA that they can also build closed headphones. It differs a bit from the basic sonic concept of the other FOCALs, because it emphasizes the bass and the upper mids, which reminds me a bit of IEM representatives of MOONDROP, or TANCHJIM and therefore should pop up the word HARMAN. Handling The structural similarities to the ELEGIA, or CLEAR are obvious, but the STELLIA gets a fresh coat of bronze (okay, from FOCAL's side it says: cognac and mocha finish). They also change the microfiber pads of the other models to a pure leather version, both for the headband and the pads, but they don't take anything away in comfort with the microfiber pads. Nevertheless, my ear does not seem to be the best match for the FOCAL models, as it bumps against the auricle here and there. At 435 grams, it is discreetly lighter than the ELEAR, or CLEAR. It comes with a "Cognac and Mocha" striped 1.2m cable with a 3.5mm connector and a 3m cable with 4-pin XLR connector in the same color scheme. The headphones are packed in a hardcover transport case and we will also receive another high-quality transport box for the cables and a 6.3mm adapter. But you can also expect a little bit of knick-knack for 3000 € UVP. The isolation is good so far, but could be better, especially on the outside. Sound The bass has a firm punch and sounds very organic, but not growling or overloaded, despite the clear boost. I find it very textured and dynamic. This fast and accurate bass is probably also due to the used driver material (Beryllium). I think I can hear some HARMAN out of the STELLIA. It is more sparkling and lively than the CLEAR, especially in the mids. But sometimes he overdoes it to me a bit and can slip into shrillness or glaring. This makes it a bit inconsistent in the naturality of voices and here and there too much "In Your Face". The STELLIA sounds brighter and slimmer than for example the CLEAR or ELEAR, but the bass and midrange emphasis brings fun into the room and you feel surrounded by lively music. It is a welcome change in the FOCAL series. In addition, the high frequency can convince with fine details, skilful bypassing of sibilants and gain stability. The STELLIA reminds me here a little bit of the CAMPFIRE SOLARIS, even if the comparison between headphones and IEM is always a bit difficult. Stage and imaging are impressive for a closed headphone. I would wish for a bit more width, but you don't have the feeling of hearing closed headphones as soon as you perceive the dimensions of the stage. The imaging is great and the sharp separation ensures excellent localization. To be honest, the technical features don't take anything away from the open CLEAR. Outro I always try to look at a headphone regardless of the price tag. But sometimes it's really not easy for me to hide it completely, so I'll say it straight out: For its performance the STELLIA is definitely too expensive for me because of the alternatives. Especially the mids are sometimes a little dealbreaker due to the sometimes somewhat aggressive voice presentation. For half of them the CLEAR is for me the much better price-performance ratio, even if it is absolutely no bargain. Sure, it's a bit about sound preferences, certainly also about the brand FOCAL and the STELLIA is a very potent and competent headphone, but the price seems to me to be exaggerated. Thanks to K55.ch for providing the headphones and the exciting day in the showroom. https://www.k55.ch/focal-stellia.html

The SRH1840 combines versatility and high fidelity frequency range: 10 - 30000 Hz | sound pressure level: 96 dB | impedance: 65 Ohm | dynamic ... musical, always unobtrusive, detailed, authentic and balanced. Sound 8.9 Bass Mids Trebles Stage Imaging 9 9 9 8.5 9 Handling 9 Processing Comfort Earpads Headband Weight 9 9 9 9 268 grams Total 8.9 Price 400 € Quickcheck Pro Contra - natural sound - maybe a little too well-behaved - high functionality - "simple" construction perhaps not for everyone - versatile applicable - ... I have a hard time finding 4 contras ... - harmonic & musical Intro The SRH1840 is in the end an open SRH1540, even though I can't tell if the hen or the egg was first. But in the end it doesn't matter, because SHURE manages the transformation in both directions. For me, the SRH1840 is a very harmonic and coherent headphone that is convincing over the whole frequency band. Musical, always unobtrusive, detailed, authentic and balanced. Handling The SRH1840 shares the design with the SRH1540. Accordingly, it is one of the most comfortable headphones I have been allowed to test so far, even if there are still little things for me to achieve my personal comfort nirvana. For example, the velour pads could be a little bit thicker as well as the headband padding. Apart from that I am almost perfectly happy, also because of the secure hold, despite the low contact pressure and the weight. You can't design a headphone much simpler and that's exactly what I like. Metal and plastic form a harmonious symbiosis without any big frills and splashes. The focus is unmistakably on the usability, which for me enhances a product more than gold-plated headbows. In addition to the positive haptic impression, also regarding the workmanship, we receive a useful selection of accessories, like a second spare cable, a hardcover case, another pair of velour pads and an adapter to 6.3mm. The cable has a MMCX connector, which is rather unusual in the world of headphones and more common in the IEM universe. Unfortunately the connectors are a bit too far into the case, so I can't connect my own MMCX-IEM cables to the SRH1840, even if the connector would fit. So a quick changeover to a balanced operation would have been possible without investing money in an expensive special cable. A small downer. Due to the poorer isolation caused by the construction, the SRH1840 is less suitable for noisy places at low volumes. It is also not the right companion in quiet environments, if other people should not be disturbed. Sound Bass The bass of the SRH1840 is not only surprisingly present for an open headphone, it is also almost perfectly tuned. It has depth, texture and is more linear than the SRH1540. It retains the slightly softer touch, but sounds very natural and not too dry or sterile. It doesn't tend to droning and despite the slight speed limitation it can handle fast bass passages without having to give in. He also convinces me with his dynamics. Mids In contrast to the SRH1540, the SRH1840 sounds more airy and somewhat more harmonious in the mids. I can't make out the slight garishness of the SRH1540 here, since the open design also reduces the probability of disturbing resonances. The midrange of the SRH1840 is as soft as butter and sounds very homogeneous. The lower mids have a pleasant physicality, which is combined with a nice clarity in the upper range. Voices have a natural timbre in both genders and are equally present. I can't find any discrepancies in the instrumentation either, which makes the SRH1840 extremely versatile. Trebles The high frequencies were especially successful with the SRH1540 and they are also the same with the SRH1840. Here, they just don't stand out so positively, since the bass and the mids operate at the same high level, which makes the SRH1840 stand out from the SRH1540. The highs have a silky character with a mature variety of information and a transparent presentation. Sibilants are not noticeable and in general there are no limitations in audibility. Stage I wouldn't call the SRH1840 a stage monster, but as so often made clear in the review, it has an absolutely realistic extension in all directions for me, which again gives the SRH1840 the predicate "natural". Imaging The SRH1840 achieves a slightly better imaging performance compared to the SRH1540. The similarly inclined SENNHEISER HD6XX also has the disadvantage of separation, locatability and "3D illusion", which is also due to the more pronounced expansion and thus more level at both ends of the spectrum with the SRH1840. It is therefore not only an authentic, but also a technically mature headphone that can certainly attack higher price ranges. Outro I fell in love with the tonality of the SRH1840. Not only does it have a natural sound, but also a good extension at both ends and a very harmonious tuning. In addition, the extraordinary wearing comfort, which is mainly due to the low total weight, but also the comfortable velour pads play a big part in it. In terms of sound I wouldn't know in which field of application I could not imagine the SHR1840, even though the open construction means that there are obvious limitations in terms of isolation, especially if you care about your environment. The SRH1840 is definitely not a headphone endgame, but it does a hell of a lot of things right and convinces with its simple design and authentic sound whenever it is needed. Compared to the more midrange-oriented HD6XX, the SRH1840 sounds a bit fuller and more musical, with a more linear sound profile, but has great tonal similarities, even though the HD6XX appears slightly cooler and slimmer. Thanks to SHURE for providing the test headphones. AMAZON

Audiophile headphones with fun factor frequency range: 5 - 25000 Hz | sound pressure level: 99 dB | impedance: 45 Ohm | dynamic ... musical, always unobtrusive, detailed, authentic and balanced. Sound 8.5 Bass Mids Trebles Stage Imaging 8.5 8.5 9 8 9 Handling 9 Processing Comfort Earpads Headband Weight 9 9 9 9 286 grams Total 8.7 Price 400 € Quickcheck Pro Contra - HARMAN - somewhat garish mids - processing/weight - "simple" design not for everyone - very good tonality - isolation - treble presentation - bass sometimes acts slightly bloated Intro Besides the professional equipment, which SHURE has in their portfolio especially for live events, they are probably known for their SE-IEM series and the KSE (electrostat in miniature format). But SHURE has of course also Over-Ears in their assortment and what kind of them. These are more designed for the studio area, but especially the SRH1540 cuts a very good figure on the road, not only because of its closed design. Handling The SRH1540 combines several advantages that make it one of the most user-friendly headphones. First of all, it is a flyweight compared to many other closed over-ears, has a low contact pressure but still high wearing safety and a comfortable Alcantara padding. The headband can be easily adjusted, or rather the SRH1540 slides into a comfortable position almost by itself. There are slight deductions in the headband padding, which is somewhat thin, and the ear cushions could be a few millimeters deeper/thicker. Otherwise, the SRH1540 impresses with a simple design, where clearly functionality was the main claim, which I personally find to be the more important attention instead of a pompous design. Equally functional is the selection of accessories. Included are a second replacement cable, a hardcover case, another pair of Alcantara pads and an adapter to 6.3mm. The cable has a MMCX connector, which is rather unusual in the world of headphones and more common in the IEM universe. Unfortunately the connectors are a bit too deep in the case, so I can't connect my own MMCX-IEM cables with the SRH1540, even if the connector would fit. So a quick changeover to a balanced operation would have been possible without investing money in an expensive special cable. A small downer. The isolation could be better for a closed headphone. Outside noise is passively blocked more effectively, but through the "open pores" of the pads some music still gets through to the outside world, even if this brings sonic advantages. Sound Bass With their SE846 SHURE set a benchmark for what a balanced armature driver can deliver in terms of depth. The SRH1540 doesn't set a very high standard in bass, but it combines high quantity with quality. Personally, I find it a bit too much emphasized in places, since it is a bit too thick, especially in the mid-bass. This is quite fun for some genres, but can be a bit tiring for bass-intensive music. A little more firmness would remedy this. The bass is quite punchy, but all in all more of the softer variety without the too powerful kick basses. I find the extension and the texture of the bass appealing. A good mixture of fun factor and precision on a very high level. Mids In contrast to many other closed representatives, the SRH1540 relies more on a neutral alignment with raised low frequencies instead of a V-signature. As a result, the mids within the signature have a higher radiance and are not pushed too far into the background. This gives voices, including men's, a nice presence and makes for a more homogeneous overall sound image, even though female vocals have more liveliness. The only major criticism of the SRH1540's midrange is the slight tendency towards garishness. With harman-oriented headphones you can sometimes hear that the range around 2-3 kHz gets a bit too much attention. With the SRH1540, however, I find this even more than acceptable and only sometimes disturbing (brighter voices or electric guitars). The mids do get a warm shower from the bass region, but I find this warmth pleasant and not falsifying, even if the clarity suffers a bit. Trebles The high frequency is for me the cream of the crop of the SRH1540. It is on the spot and finds the perfect balance between presence, transparency and relaxation. The variety of information is at the highest level, but without slipping into the artificial or being unpleasantly conspicuous. The high frequency provides hours of pleasure, which also makes it predestined for continuous professional use. It is always clear and clean, with a velvety soft but at the same time definite way of sounding. Tonally it is quite neutral without drifting off in the dark or light direction. Strong! Stage The acoustic pads of the SHR1540 (perforated structure), which are not only breathable but also sound permeable, create an appealingly large stereo stage (when changing the pads to e.g. "closed" ( imitation) leather, the difference becomes clear) and also smooth the frequency response. The stage is still not the measure of all things, but it finds a good mixture of width and intimacy. Imaging The precise imaging produces a sophisticated 3D image that is convincing and above average. This should also be expected in the upper middle class range of the SRH1540 and with the professional demands. Outro What I like most about the SRH1540 is the ease of music presentation. Nothing seems pressed or artificially expanded, even if the bass plays a significant amount north over neutral, which may not suit everyone's taste. Exactly this feature makes it almost more attractive for me in mobile use than in the studio, even though, apart from the bass, it can still be described as neutral in its basic signature, with Harman influence. Due to its high sensitivity and low impedance the SRH1540 can be used with a cell phone, even if you have to make dynamic sacrifices, which can be compensated with a powerful mobile DAC! For me the SRH1540 is a very good all-rounder and a headphone that is not only at home in professional use, but also a great companion in everyday life, if you have the necessary change. Thanks to SHURE for providing the test headphones. AMAZON

Explanation: In contrast to the full review, the QUICK VIEW only provides a brief tonal and functional overview. Either I haven't been able to spend enough time with the headphones, where the rating has to be taken with a grain of salt, or I don't consider it particularly worthwhile in terms of sound. I will mark which of the two variants applies with "Time", or "Average". The weighting of sound and handling is 2:1. frequency range: 10 - 25000 Hz | sound pressure level: 97 dB | impedance: 35 Ohm | dynamic Sound 7.2 Bass Mids Trebles Stage Imaging 7.5 7 6.5 7.5 7 Handling 6 Processing Comfort Earpads Headband Weight 6 6 6 6 180 grams Total 6.8 Price 85 € Quick View reason: Average Intro The ROLAND RH-A7 is an open on-ear that has the same design as the RH-5. However, when I had the price in mind, I briefly left out the spit, because even though the RH-A7 offers a tonal advantage over the RH-5, the triple price is not appropriate in any context. It is marketed as a perfect tool for listening to electric pianos. Handling For just under 90 € I would no longer necessarily call a headphone a classic budget model. But that's exactly what the RH-A7 represents haptically, because the driver is basically in the same housing as the RH-5, only that the ear cup is open on the back. That means plastic and again plastic. The only haptic upgrade is the velour padding, which indeed makes the RH-A7 a bit more comfortable, even though the difference to the RH-5 is not significant. Otherwise, the cable also measures 3m and an adapter to 6.3mm is included. A good isolation is not given and so practicing with other people in the room makes less sense. Sound The RH-A7 is not a bad sounding on-ear. The open construction has noticeable advantages over the RH-5. The bass appears more controlled, the mids are much more homogeneous and the high frequencies can express themselves better. In general, the RH-A7 has a smoother frequency response, which makes it sound much more balanced and authentic than the RH-5. I would even go so far as to say that the RH-A7 sounds quite neutral, without a large extension at both ends, with a pleasant warmth and also tonally quite okay, so that it is also suitable for listening to music. No miracles should be expected, but if the RH-A7 were to be offered under 30 € like the RH-5, this would be a good value for money for me. The stage sounds more open and spacious than the RH-5 and a much more differentiated 3D sound image is created. Outro As a free accessory to a Roland electric piano I would certainly be happy to receive the RH-A7, as it is quite versatile. But for the current price there are much cheaper alternatives (e.g. from Superlux, or even AKG). Nevertheless the RH-A7 has a quite good sound and is suitable for private monitoring and occasional listening to music or TV. What works: Song Genre Meine Liebe singer-songwriter,pop Wilhelmine What does not work: Song Genre In Between punk, rock Beartooth Buy: MusiX

Wetziker headphone tester Newspaper article in "Züricher Oberländer" - 09.03.2020 David Hahn tests headphones and writes about them. He understands if someone is not interested, but is happy about the opposite. David Hahn came to his hobby by chance. (Seraina Boner) On David Hahn's chest of drawers is a small map of Berlin, Friedrichshain. He grew up in Lichtenberg, in the district right next door. But somewhere in the German capital he has lived for almost all of his almost 30 years. Before he landed in this restored apartment in an old building - dark beams, light parquet flooring - in Kempten three months ago. Hahn, who wears a cap on his head, horn-rimmed glasses on his nose, silver rings in his earlobes and lower lips, does not say "not", " the" and "what", but "ned", "dat", "wat". For example: "I'm actually ned (not) that badly nerdy." But, hahn's hobby, "dat (this) is a nerdy business." Actually, the Wetziker says, he's not so nerdy. (Seraina Boner) "This name is just difficult for the German market." David Hahn, headphone expert If you open the drawer under the Friedrichshain map, there are packing boxes of headphones piled up. In the drawers even further down: Headphone boxes. Drawers full of headphones. (Seraina Boner) Two years ago, Hahn was the headphone ordinary citizen: he owned a pair. But that broke. So he needed new ones. Normally, he would have gone to Media Markt as a normal citizen with headphones and bought new ones, for example in the price range of 20 to 50 euros. Why he didn't do that two years ago, he doesn't remember exactly. But Hahn then ordered them on the Chinese platform Ali Baba for 8 euros. And he thought: "That doesn't sound worse." With mom to the recorder, on tour with Sunrise Avenue Surprised Hahn. He used to have to "go to the recorder with mummy", later he had violin and saxophone lessons, he was in a band for a long time, as an event technician he was sometimes on tour with others (Sunrise Avenue among others, he understands that not everybody likes that, he himself has developed something like a musical Stockholm syndrome, Hahn says), he still likes to strum his guitar. In other words: Hahn enjoyed a basic musical education. But he was still not quite sure if he was right in his assessment of the headphones. So the sound engineers in his company were called in. "They all thought these were at least 80 euro headphones". In the meantime, companies send him headphones to test them. (Seraina Boner) "When companies write things like 'like a still water on a spring day', friends, no, you're fucking with the customer." David Hahn These headphones, with which everything began, are little black lumps on copper-coloured cables and lie on the table in front of Hahn: The model ATE-HIFI of the brand KZ - "This name is just difficult for the German market". Hahn's ambition was aroused, "after that I always wanted better, even cheaper headphones." After half a year he started blogging about his search, on his website Chi-Fiear you can now read 137 tests of in-ear headphones. In the beginning he concentrated on those from Asian manufacturers, in the meantime he has given up both this and the "as cheap as possible" criterion, he is now testing headphones at the other end of the spectrum for 1500 Euros. "Yes, friends, no" Hahn's test system works like this: "I unpack them, put them in my ears and I hear what's coming." Then he does that for about two weeks with different styles of music and at different times of the day (this is obviously important, in the evening for example you notice the basses more distinctly, says Hahn), and writes down what he has heard. Too flowery descriptions are not his thing. "When companies write things like 'like a still water on a spring day', friends, no, you're fucking with the customer." Hahn doesn't know how many hits he's got on his blog. He's never bought a domain. He only sees the first 1000 visitors his site gets per month. It takes five to six days to get that number. This would mean an estimated 5000 to 6000 visitors per month. "That would just be advertising." David Hahn These numbers do not interest him dearly. And he doesn't mind that many people don't care what he does. For example, he has never been able to inspire anyone in his close circle of friends. "That's just the way it is, whether you're interested or not. With cars I also think: As long as it drives." "that's sweet". But if someone is interested, Hahn thinks it is nice, "otherwise I could write in my diary. His readership obviously appreciates him, he is contacted several times a week via his website, although "almost always by the same three or four people. When he, busy with his move from Berlin to Kempten, didn't publish anything for a while, someone asked if he was doing well, "that's sweet". Asian manufacturers are also familiar with him, many models end up in his mailbox without being asked. Sometimes he gets models to test and feedback and "yes, that's free work I'm doing there." But "No I don't mind a bit, it's an appreciation." What he doesn't quite understand is why they send him things like an iPad cradle. "I asked, I was told it was just a gift." He kept giving them away. He doesn't accept other forms of payment. "Of course not. That would just be advertising," and he doesn't want to earn money with his blog: "I think that would mean losing the pure. I wouldn't want that." (Xenia Klaus) - translated by David Hahn ________________________________________________________________________________________ David Kilchör Monday, 09. March 2020, 07:14 Uhr Züricher Oberländer

Alvon - Founder of AVARA CUSTOM «Portable audio industry is not a “foreign” things for our daily lives» According to Alvon, founder of AVARA CUSTOM, every Indonesian owns or has owned at least one pair of headphones in his life, at least in terms of sales figures, even if it was "only" the inserts to the mobile phone or MP3 player. This is no random insight, as Alvon is not only an avid audiophile, but also the founder of Jaben Indonesia and has been in the headphone retail business for over a decade (2009). Accordingly, he also saw a market for custom IEMs in Indonesia, which differed from the "big" manufacturers mainly in terms of pricing policy. It bothered him that there was no viable alternative to the expensive options offered by US or Japanese manufacturers. So what if he could produce CIEMs in the same standard quality (as well-known international manufacturers), but handmade in Indonesia to ensure lower production costs and faster delivery times for the local market? AVARA CUSTOM was born! AVARA NEO with personalized faceplate With its current line-up, AVARA's AV1Lite is indeed the most affordable custom IEM (1*BA) available worldwide (starting at $99). It doesn't matter whether in a universal design, with earmoulds, or individually custom-made according to ear impressions. There are even cheaper, customisable options, for example with the AVARA NEO (1*DD & 1*BA), which is only available as a UIEM version, but gives the customer the possibility to freely develop their own external appearance, starting at $40. The individual adaptation of the design is done via the IEM-Builder on the AVARA website. «Looking at the happy faces and gratitude of the owners when they accept the Custom IEM of their dream (which they never dream of having it with the price tag of US or Japan made Custom IEM), this is priceless feeling for me.» Alvon So how can a Custom-IEM be so cheap and on top technically (KNOWLES/SONION), as well as haptically on a comparable level to better known companies, like ULTIMATE EARS, or VISION EARS, even if AVARA does not develop its own drivers? In this context, one should not ignore something very decisive. The idea behind AVARA is to make CIEMs available to the Indonesian market and to produce them locally as well. In Indonesia, the average gross income per year is 3.251 € (2018). In Germany, for example, it is just under 40.000 €. For an Indonesian, the cheapest CIEM from AVARA is therefore still half a month's salary on average, which in turn would reflect the exemplary ratio between a company from the USA or Japan and its customers. With this background, AVARA's products are certainly a bargain for some, but not for all. «...it encourages me to keep going to push the boundaries, for the sake to let the world know that someday Indonesia might not be known only for its beautiful people or Island of Gods (Bali), but also for a true passionate and driven young brand who has the courage to change the face of Custom IEM world not just in Indonesia but on other parts of the world.» Alvon It is to Alvon's credit that he does not call for international prices in his committed endeavor to sell his products beyond the Indonesian border, but shows that an idea, dedication and modesty can also come before profit. «my friends thought I was crazy spending 400 SGD (1 SGD = 0,64 €) just for earphones only » CEO - AVARA CUSTOM If you ask Alvon for his personal favorite from his product range, this is the AV3 with 3 Balanced Armature drivers. Soundwise, the tuning was based on the Westone UM3x / UM30Pro, which reminds him of his college days. He also describes the AV3 as the most musical and versatile CIEM, which is not only suitable for the stage, but also convinces in everyday use with audiophile qualities. AVARA AV3 as UIEM with my C-EAR logo In the end, AVARA must and wants to measure itself against the "big ones" in terms of sound. For this purpose Alvon kindly produced the NEO and AV3 individually as UIEM for me and sent them to me for review purposes. If AVARA can keep what it promises you will read soon. Let us be surprised! If you have any further questions about AVARA CUSTOM, I am sure Alvon will be happy to help you by mail or via Facebook! (David Hahn) ________________________________________________________________________________________ David Hahn - CHI-FIEAR Wednesday, 20 May 2020 CHI-FIEAR

Explanation: In contrast to the full review, the QUICK VIEW only provides a brief tonal and functional overview. Either I haven't been able to spend enough time with the headphones, where the rating has to be taken with a grain of salt, or I don't consider it particularly worthwhile in terms of sound. I will mark which of the two variants applies with "Time", or "Average". The weighting of sound and handling is 2:1. frequency range: 10 - 22000 Hz | sound pressure level: 92 dB | impedance: 32 Ohm | dynamic Sound 6.4 Bass Mids Trebles Stage Imaging 7 6 6 6.5 6 Handling 6 Processing Comfort Earpads Headband Weight 6 6 6 6 180 grams Total 6.3 Price 28 € Quick View reason: Average Intro The ROLAND RH-5 is a closed on-ear and is usually supplied with the company's products (e-panos, e-drums, etc.) for monitoring. As an accessory, it may serve its purpose and be sufficient, but I wouldn't know why I should buy it for my own use even for less than 30€, since there are better alternatives in that price segment as well. Handling The RH-5 is a classic budget headphone. Its design is simple and completely made of plastic. The headband and ear pads are made of a very thin imitation leather, if you can call it that at all, which does not make a very durable impression. The comfort is okay, but I have had more comfortable on-ears. Especially with the material, the thickness and the filling of the pads the comfort of on-ears stands and falls. The cable is with 3 meters very long, which is good for monitoring, but less useful for mobile use. A 6.3mm adapter is included in the scope of delivery. Sound The RH-5 has some construction sites in its V-signature. The lower mids are set too far back, the upper mids are quite garish and aggressive. The highs ripple along and provide only the most necessary information. The bass is most convincing. It's a bit hollow and not very physical, but it remains the most constant and also has some quantity, which can be quite fun. There is no particular subtlety or balance to be found in the RH-5. It is not a total failure in sound and for monitoring when practicing electric piano, guitar etc., the RH-5 may work, if you don't make any demands. Luckily there are no voices in play that could turn the tide, because they don't always turn out to be an easy fare. The stage is quite compressed and it takes place much centrally in the head, because the imaging doesn't seem to be very accurate either and is actually only acceptable in stereo. Outro If you add the RH-5 to a new Roland machine, this is sufficient for the moment. It has a driving bass when you get a good fit and can cover the mid and high frequency range quite effectively. For pure music listening it would not be my first choice in this price range, but for listening to the musical effusions at home it is usable. What works: Song Genre Flint instrumental, electro Be Svendsen What does not work: Song Genre You Should Be Sad vocals, pop Halsay Buy: MusiX

A workhorse in on-ear format frequency range: 18 - 24000 Hz | sound pressure level: 114 dB | impedance: 55 Ohm | dynamic A workhorse that performs well in terms of sound, but cannot and does not necessarily have to serve hi-fi demands. Sound 7.7 Bass Mids Trebles Stage Imaging 8 7.5 8 7.5 7.5 Handling 7 Processing Comfort Earpads Headband Weight 7 7 6 8 225 grams Total 7.5 Price 79 € Quickcheck Pro Contra - safe tuning - somewhat thin mids - typical AKG sound - can cause unpleasant pressure on the ears - versatile use - high and low frequencies without large expansion - good monitoring tool - imaging and stage rather average Intro >> The AKG K141 MKII is a semi-open studio headphone with supra-aural earpads. So it says in the German advertising text and here first of all no discrepancies between marketing claim and reality are to be recognized. The K141 MKII is the successor of the K141 with detachable cables and slight design adjustments, which should increase the benefit. A workhorse that performs well in terms of sound, but cannot and does not necessarily have to serve hi-fi demands. It's a good tool for monitoring vocals and instruments, but you shouldn't take too much time when singing in or recording, because the on-ear is not one of the most comfortable. Meanwhile the K141 MKII is no longer in production, so you can only fall back on remaining stocks and used models. Handling Probably the biggest change to the original K141 is the removable cable. With each 3m and 5m (spiral) it is too long for mobile use, but you are flexible in the studio and the K141 MKII can also work as DJ headphones, at least concerning the handling. Two different pairs of pads are also included. The imitation leather (pre-mounted) and velour pads can be exchanged quickly. The imitation leather pads are slightly softer, but also less durable and more predestined for sweating on the ear. The velour pads are firmer, but have the better comfort characteristics for me. An adapter from 3.5 mm to 6.3 mm is also included. I usually have a hard time with on-ears. They can certainly be an advantage for me as a wearer of glasses, but the general pressure on the ear is usually too much for me to be able to listen to music with them for a long time. This is also the case with the K141 MKII, even though the headband is quite comfortable due to its flexibility. The pads are the clear sticking point for me here. Nevertheless, it is a pressure I can bear, even if I always perceive it and find it disturbing. Apart from that the workmanship is solid, even if the K141 MKII does not come close to the valuable impression of the "bigger" series of AKG. Due to the half open construction, some music gets to the outside world and also the isolation to the inside is not very given, apart from the on-ear wearing. Sound Bass The bass is not the voluminous one and certainly cannot satisfy the pure bass hunger, but it is very direct and on the point. Its qualities are more in the detail work, but it can still strike when asked. But then not to the full extent, because there is something missing in the subrange. Parallels can be seen here to the K702, whereby the bass of the K702 seems slightly slower, but sounds more natural, especially due to its reaction behaviour. The bass of the K141 MKII is a bit more crisp, but it lacks a bit of the atmosphere. Nevertheless, it is very appealing and quite musical. Mids In the mids, as so often, you can hear immediately that you have an AKG sitting on your head. On the positive side, they are not quite as obtrusive around 2 kHz as the K702, which gives it better audibility and better all-round qualities. On the other hand, they sound a bit thinner and not quite as homogeneous as on the K702. Apart from that they have a quite high degree of realism, even if I miss some body in the mids. At times they can appear a bit dull, but this is also produced in combination with the highs, as they are not the most sparkling. Trebles Even if the highs lose a little of their effervescence and brilliance, they are extremely safe and therefore also perfectly suited for monitoring. Here it is not a matter of the finest micro details or the notorious need for ultimate resolution and level fidelity, which can quickly lead to exaggeration and fatigue. The K141 MKII's treble is very relaxed in this respect, like a K240 MKII for example, with the willingness to provide enough information to remain realistic and equally musical. Furthermore, the high frequencies fit in well with the neat overall sound presentation of the K141 MKII, without literally sticking out magnificently. Sibilants are also not an issue. Stage Despite the half-open construction, the stage has no special dimensions. For the monitoring requirements this is not necessary at all, because sometimes people are working in mono anyway, when they are not singing or playing along to a already mixed song. But the stage is not claustrophobic or something like that, it's just in good average. Imaging Imaging is not the best in the somewhat centered sound presentation, but instruments are still easily located and decently separated. Here, too, one can speak of good average. However, one should not expect a highly sophisticated, finely differentiated 3D image. Outro In conclusion, the K141 MKII is musically versatile, even if it does not have the most quantitative bass range and is more concerned with safety than throwing every detail or recording error around your ears. Of course, this is not an advantage for the purist, but it does allow the K141 MKII to "overdub" worse input material. Due to the high efficiency at relatively low impedance it can be operated spontaneously on a cell phone without any problems, but you should always be aware of where you are due to the weaker insulation caused by the construction. Due to the quite high contact pressure of the K141 MKII an unpleasant pressure can develop after some time. Thanks to Sattler Electronic Showtronic AG for providing the test headphones.

Warm, musical and bassy frequency range: 20 - 20000 Hz | sound pressure level: 103 dB | impedance: 32 Ohm | dynamic For me, the SIVGA PHOENIX is more of a fun headphone, but it also has audiophile qualities. Sound 7.8 Bass Mids Trebles Stage Imaging 8.5 7.5 8 7 8 Handling 8.5 Processing Comfort Earpads Headband Weight 9 8 8 8 296 grams Total 8 Price 265 € Quickcheck Pro Contra - safe tuning - somewhat lifeless mids - dynamic bass - tiny design - warm and musical - not the best all-rounder - processing - stage Intro SIVGA has specialized in developing headphones with a noble wood finish. The PHOENIX is their current flagship and is aimed at bass-hungry listeners with audiophile demands. Whether the PHOENIX can do justice to this remains to be seen. The low impedance and high sensitivity of the PHOENIX should make it suitable for any playback device. Handling Zebra wood sounds promising, but in the end it is a type of wood (which exactly is not specified) that has a naturally zebra-like grain, which means that several woods can be considered. It's nice to look at, though, and gives the otherwise more filigree PHOENIX a rugged character. Likewise, this also raises sonic expectations, as I associate wood looks with a warmer and more physical sound, which the PHOENIX indeed delivers. In general, the PHOENIX turns out a bit small, which means it may not fit on every growler, which I would count mine among. On me, the comfortable and flexible headband is on full stop. The ear pads are comfortable, but unfortunately also fall out a bit too small. Here SIVGA probably had rather smaller people in focus when dimensioning their headphones. However, they have recognized the problem and deliver larger pads, for which, however, another 12 € are added. With the original, soft and ergonomically shaped pads, the PHOENIX wears more like an on-ear, but still quite comfortable. Here, however, I also see problems with people who provide their brain even more space than I do. In the package we get a fabric-covered and supple cable with 2.5mm mono jack as headphone jack and 3.5mm stereo jack for the music source. An adapter to 6.3mm is included in a small cloth pouch. In addition, the cable has a reinforcement at the stereo connection to prevent cable breakage. There is also a nice hardcover case for transporting the headphones. The isolation suffers from the open design, but there are even airier representatives. Sound Bass The PHOENIX clearly focuses on the bass. I can't think of any open headphones where I felt such an impact from the bass, because the bass of the PHOENIX is quite physically perceptible. It has a good texture, is full-bodied and quite punchy. However, it lacks a bit of firmness, which is then also noticeable in the interplay with the mids. For me, this limits the usability of the PHOENIX a bit, because I would reach for this headphone less for rock or pop (which should not exclude these genres, however), but all the more for electro or hip-hop, where it can also fully play out its bass performance. I enjoy the bass and even if it is not the tightest representative, it convinces me with its organic and dynamic character. Nevertheless, certainly not for everyone, especially when it comes to critical listening, although the PHOENIX is equally capable of bringing out finer bass passages. Mids I have a bit of a hard time with the mids. These are very physical and voices have an intimate character. For me, they are a bit too influenced by the bass and lack clarity. If you prefer more restrained and thicker mids, you can certainly do better with this presentation. I would like to see more liveliness and a cleaner transition between bass and mids. Rarely, the mids can get a bit harsh, but that is absolutely tolerable for me. Details are brought out well and tonally the mids are largely correct, if a bit too warmly tuned. Trebles The highs are fundamentally solid. They don't have outstanding extension or the very highest resolution, but I like the relaxed approach as I don't feel like I'm missing anything either. Yes, hi-hats could be a bit zippier and sharper, and I'd also like more transparency overall, but here the mids tend to be the spoiler, as they already provide a somewhat spongy foundation, which is then harder for the highs to enhance. Sibilants are not discernible and generally the treble has a very good longterm listenability and a silky character. Stage What surprises me is the much more intimate stage than we are used to from open headphones in general. This is also a small drawback for me, as I feel a bit constricted here and there and this fact sometimes stresses me out when listening to music, as I always have the feeling that the PHOENIX wants to, but doesn't manage to break the imaginary wall. Nevertheless, the stage doesn't seem claustrophobic or anything like that. Imaging The imaging works well within the available space and is also divided into several layers. However, it isn't particularly airy and is laid out more like an ellipse with an eye on the stereo area, so there is certainly still " air upwards" on the Y-axis. Outro For me, the SIVGA PHOENIX is more of a fun headphone, but it certainly has audiophile qualities, especially with its unobtrusive and relaxed signature, though it is not something for critical listening. For this, it lacks a bit of clarity and resolution, or rather, the dominant bass and the somewhat shy, warm mids are a shortcoming. Since the PHOENIX could be operated at a more than sufficient volume without any problems at all tested sources (HUAWEI P40 lite, LG G6+, various USB DACs (including ZORLOO ZTELLA), Lenovo P51, various headphone amps (including SMSL SH-8)), it is certainly also an idea for mobile use, but you should always be aware of where you are due to the open design. Likewise, the technical performance can vary somewhat. To that end, the PHOENIX is comfortable for extended periods of time despite its smaller pads, which make it on-ear. However, these can be replaced with a circumaural version, where there is an additional cost (€12). If you're looking for a fairly competent open headphone for electro, hip-hop, EDM or R&B with a relaxed and intimate signature, the PHOENIX is well worth a try. Thanks to SIVGA for providing the test headphones.

Transparent and neutral planar with somewhat demanding high frequencies frequency range: 20 - 35000 Hz | sound pressure level: 93 dB | impedance: 35 Ohm | planar ma. The HE4XX is an interesting and competent planar headphone in its price segment! Sound 8.1 Bass Mids Trebles Stage Imaging 8.5 8 8 8 8 Handling 8.5 Processing Comfort Earpads Headband Weight 9 8 8 8 370 grams Total 8.2 Price 145 € Quickcheck Pro Contra - comfortable pads - somewhat high contact pressure - neutral... - ...with treble boost - planar bass - treble sometimes a bit peaked - details & transparency - stage for an open design Intro DROP tries in cooperation with established companies to make their products accessible to a wider mass at lower prices by taking former or current products with a good reputation, giving them a little more mainstream (soundwise) and also trying to implement more cost-effective variants in the design. Although DROP does not always succeed with these "slimmed down" versions to land a big hit, but in collaboration with SENNHEISER (HD6XX & HD58X), for example, respectable headphones have been created, which can represent a benchmark in the price range. So let's take a look at how this cooperation with HIFIMAN is bearing fruit, where several models have already been released (HE35X, HE4XX, HE5XX & EDITION XX). Handling The HE4XX makes a very robust impression, which is certainly also subjectively generated by its weight. This is not particularly low at just under 400 grams, but it is well distributed on the head and ears, so that the wearing comfort is in a good range. The very comfortable pads are angled slightly to provide better ergonomics. However, I find the contact pressure a bit high at the beginning, but you get used to it just like with the SENNHEISER HD6XX, or HD58X. Nevertheless, this is, for example, better managed with the HE5XX. The headband has sufficient padding, but it could be a bit softer. I also miss a grid device for size adjustment, but the headband automatically slides into a well-fitting position when put on. The scope of delivery is somewhat modest. There is only a rather thick cable with a 3.5mm jack connection, which can be adapted to 6.3mm (included). The headphones are connected on the left and right via 3.5mm jack, which also makes it easy to convert the HE4XX to balanced operation. The isolation is hardly worth mentioning due to the open design, but it is slightly better than the even airier HE5XX due to the better sealing of the ear pads. Sound Bass The HE4XX was basically my first planar over-ear headphones and I was initially a bit skeptical about how the bass performance would turn out here, since I was used to more dynamic representatives. Absolutely unfounded, because the bass of the HE4XX does not quite come close to this organic and dynamic of such a "conventional" driver, but it brings completely new qualities. Of course, not every dynamic headphone is equal to a high pleasure in the bass. There is a wide control in both directions here. The HE4XX's bass is not only interesting because of its detailed, drying playing style, it adds a certain lightness to the sound. Even though it doesn't bring the fattest kick in the subrange or build up any noticeable punch, it's very accurate without slipping into the mids or overdoing it. This not only makes it very clean, but gives it an unexpected sense of spaciousness. To that end, it persists in any genre with consistent quality and speed. Absolute bassheads might want to look to closed-back dynamic headphones, though, for the absolute kick. Mids I would describe the mids as quite neutral, even if they sometimes seem a bit restrained to me and don't sparkle with energy. Basically, I quite like these relaxed, natural, but detailed mids in this form, though in that case I would like a bit more liveliness to create a symbiosis with the treble. Thus, the relationship is a bit discordant to me, but I don't blame the mids as much for that, since they basically do little wrong. Voices are intimate and instruments that are more in the midrange sound largely realistic. Neither garishness resonates nor any other unpleasant background noise. However, the mids sometimes sound a bit veiled, but this only becomes noticeable when you switch to the HE5XX, for example. Trebles The treble should be taken with a grain of salt here and there, as it is noticeably artificially boosted, which can amplify the sibilants and cause the HE4XX's tonality to slip a bit into the bright and unnatural at times. This is song-dependent, but for me there is always something slightly artificial resonating, although you also quickly get used to it. Nevertheless, the trebles are transparent and have a good resolution, but they don't necessarily invite you to turn up the volume. However, it is precisely the good detail and transparency that finally make the highs attractive and give them not only quantity, but also quality, even if this is not always produced in a natural-looking way. Stage The stage is well positioned in terms of width and depth, although this is certainly not where the HE4XX's absolute strengths lie. I would describe this as quite realistic, without the stage being classified as above average in width. Compared to the HE5XX, the HE4XX sounds a bit more compact, but this could also suit some people. Imaging Despite the more accentuated highs, the HE4XX is not quite as airy and quite intimate, especially in the voice presentation. The separation is decent and voices and instruments are clearly separated from each other, but if you compare this to the HE5XX, you'll notice a few deficits. However, the HE4XX is not bad from a technical point of view and is certainly still very decent in its price segment. However, you shouldn't expect an outstanding holographic sound despite an open planar driver. Outro The HE4XX is an interesting and competent planar headphone in its price segment! However, in comparison with other price-performance powerhouses from DROP, it can't quite keep up for my taste (HE4XX < HD58X < HE5XX < HD6XX) and for me that has something to do with its slightly artificial, sometimes peaky highs, because the bass and mids are really good tonally. Here is certainly still a bit what to get out with an equalizer. Ultimately, it is also a question of taste and above all tolerance, as far as the treble is concerned. However, I would have liked either a bit more lively mids or slightly more relaxed highs a la HD6XX to make the HE4XX sound even more harmonious overall. The HE4XX is a very good, high-resolution all-rounder and a great entry into the planar headphone world. If you have a few more bucks in your pocket and prefer a more lively, open sound, you should take a look at the HE5XX if you want a HIFIMAN (DROP edition). However, with the HE4XX, you should keep in mind that despite the successful overall performance, we are still talking about a planar headphone of just under 150 €, which makes it very well positioned in its price range and more than competitive! DROP

Bluetooth headphones in a different way frequency range: 20 - 20000 Hz | sound pressure level: n.a. | impedance: n.a. | dynamic The VALCO VMK20 is a somewhat different Bluetooth headphone that doesn't go the conventional route Sound 7.9 Bass Mids Trebles Stage Imaging 8 8 8.5 7.5 7.5 Handling 7.5 Processing Comfort Earpads Headband Weight 8 7 6 8 250 grams Total 7.8 Price 169 € Quickcheck Pro Contra - good high frequency presence - technically rather average - relaxed signature - somewhat restrained in the mids - good ANC - bass sometimes a bit spongy - solid workmanship - somewhat unpleasant pressure (for large ears) Intro VALCO is a fairly unknown audio company from Finland that specializes in Bluetooth headphones and came out with their first model in November 2019. This review is about the successor model, which appeared in 2020. Through the witty marketing as well as promotional posts on Facebook, you quickly realize that the company, especially Jasse Kesti (producer and sound engineer), doesn't take itself quite so first and thus earns sympathy points, because the VMK20, on the other hand, is not a joke, but a sophisticated Bluetooth headphone. The sound of the VMK20 was tuned by Jasse Kesti, who also has a lot of experience from live mixing and is probably one of the best-known sound men for the studio and live events from Finland. Advertising video Handling Bluetooth: 5.0 APTX LL, SBC and AAC Chipset: Qualcomm QCC3008 with custom DSP setup ANC: Analog Devices Inc. (ADI) Active Noise Cancellation with 4 microphones Amplifier: Class AB Stereo elements: 40 mm Weight: 250g Battery: 1050 mAh Charging time: 2-3h, USB-C connector Battery time: up to 45 hours of constant listening on ANC, 40 hour on phone call Package includes all the necessary cables and dongles (3.5 mm, airplane adapter and USB-C charging cable) Design-wise, the VMK20 is a pretty average looking contemporary that focuses more on functionality. Keep it simple, I think is a good approach and so I have little to complain about here. However, the ear pads are a bit small, so that my ear touches the inside of the case. This creates a somewhat unpleasant pressure in the long run, but it is still tolerable. Otherwise, the padding of the pads and the headband is comfortable and the VMK20 makes a robust impression despite the almost exclusively used plastic. You have enough play as far as adjusting (click mechanism) the headband to the individual user is concerned and the contact pressure is moderate, which provides more for a secure fit than headaches. Passive isolation isn't bad even without ANC, but is optimized a good bit more when activated, as the lower monotone frequencies are then filtered out, whether on the bus, train or street, and the stressful background noise (conversations, wind, traffic, etc.) is also curbed. However, one should not expect absolute isolation, but I always find it a blessing to be able to actively isolate oneself from outside noise, even if it is only a reduction of it. Sound Bass In contrast to many other Bluetooth models, the VMK20 has a fairly balanced signature and does without a classic bass boost. This does take away from its fun factor somewhat, but the headphones are indeed also aimed more at the discerning music consumer and dare to take on even higher and more professional tasks. However, the bass is not the crispest and acts a bit slow for my taste. Nevertheless, it finds a good compromise between quantity and quality. It is not anemic, but can deliver enough impact to every genre, as long as you don't expect a bass cannon. It satisfies me with the rating of "good", even if I wouldn't emphasize it much, since it's not the most consistent. Mids It's a similar story with the sound of the mids. These sometimes get a bit of bass pushed on them and are quite flat and restrained, but accurate. Some might call this unagitated and relaxed playing style boring, while others might call it authentic and natural. Admittedly, they are also a bit too weak on the chest for me, or I would wish for an even more restrained bass in this case, in order to play out the full strength of the detailed and tonally correct mids. Thus, the VMK20 leaves a few grains behind here, but still plays quite above average, especially in the Bluetooth category. I would wish for a bit more energy and liveliness, but I appreciate the mids all the more in quieter passages, where they do not necessarily have to assert themselves. Trebles The treble is the area that stands out for me, even though the VMK20 doesn't allow itself to fluctuate too much downwards or upwards, but performs well throughout. It does have a few deficits in extension, but it is very detailed and resolves finely. It doesn't shove the details in your face unasked, but it doesn't want to withhold anything from the interested listener either. I find it most coherent and would wish for the same clarity from the mids and bass. It does not become unpleasant, but it will not really enhance worse recordings, which I find positive due to the more professional claim of the VMK20. Stage The stage can be described as average. It lacks a bit in depth and most of it takes place in the panorama image. Imaging The VMK20 doesn't really create a 3D feeling, but the separation works quite well, even if the VMK20 sometimes loses track in hectic passages and doesn't separate as sharply. Here you notice again that the mids in the upper range could have benefited from a few dB. Nevertheless, the VMK20 delivers a credible sound image, which, however, cannot distinguish itself with absolute transparency and seems rather more intimate. ANC ANC is no longer a special feature in Bluetooth headphones, but there are still significant differences in quality, on the one hand in terms of "isolation", but also how much the sound changes with ANC turned on. SONY is certainly worth mentioning when it comes to unadulterated sound with ANC turned on. With the VMK20, on the other hand, quite a bit happens when the button is activated. The bass loses presence, especially in the lower range, the mids sound a bit more "telephonic" and voices come more to the fore. This is a bit irritating when switching, but you also get used to the "new" sound after a while, although it sounds more falsified in comparison and no longer seems as homogeneous. Cable The VMK20 can also be operated with a classic 3.5mm connection (cable included). However, the sound then meets my taste less, because the bass gets more volume and pushes back the mids even more. You lose some resolution here and you notice that the drivers were tuned for Bluetooth mode (which makes sense). Still, I would have liked to see less sound compromise in wired mode. ANC can also be used in wired mode, with the aforementioned sound changes. Outro The VALCO VMK20 is a somewhat different Bluetooth headphone that doesn't go the conventional route, but has a bit more of the audiophile market in mind. As a result, the VMK20 is certainly not a fun headphone that blasts driving bass into our ears while playing sports, but rather focuses on the quieter, more relaxed tones and strives for a balanced signature where no frequency range particularly stands out. That doesn't always sound compellingly inspiring, and a bit more dynamics and peakedness certainly wouldn't look bad for the VMK20, but in return you get a fairly natural-sounding headphone that also cuts quite a fine figure on the couch. However, I would not dissect music with the VMK20, but that should not be its claim. Despite the detailed and "refreshing" sound signature due to the rather neutral tuning in the Bluetooth world, I still have the feeling that a bit more would have been possible here sonically. With aptX LL, AAC, SBC, BT 5.0 and a decidedly long battery life (a good 40 hours with ANC), it doesn't let its guard down, at least in terms of basic technical requirements. If you are looking for a more balanced Bluetooth over-ear and want to turn your back on the well-known bass and treble boosts, you should give it a try, since the price-performance ratio is not bad either, although APPLE should not be a role model here. VALCO

The dark warrior with a soft face. frequency range: 15 - 25000 Hz | sound pressure level: 103 dB | impedance: 26 Ohm | dynamic. The 99 NEO will not necessarily meet the taste of those who already found the Classic too bass-heavy. Sound 7.8 Bass Mids Trebles Stage Imaging 8 8 8 7.5 7.5 Handling 8.5 Processing Comfort Earpads Headband Weight 9 8 7 9 260 grams Total 8 Price 199 € Quickcheck Pro Contra - musical - mids and highs slightly lack bite - bass-emphasized - bass-emphasized - relaxed signature... - ...which sometimes seems a bit too dark - Lightweight - ear pads a bit thin and small. Intro MEZE always has the ambition to combine design and sound, so that their products not only functionally provide what they are made for (music playback), but also an aesthetic claim behind it. Since I rather value the functional aspect, I often complain that this part comes too short with some manufacturers and then you have a headphone sparkling in the sunlight with unique hand paintings of Native Americans, but in the best case can also hold a tin can or a shell to the ear, where then the "sea noise" still sounds more natural than from the extravagant work of art. For my taste, MEZE usually finds quite a good mix, even if the SOLO (IEM) could not fully convince me sonically, as well as the 99 NEO. The 99 NEO is the successor of the 99 Classic and enriches the company's portfolio with a warm, bass-heavy and relaxed sound, which, however, brings enough energy to make the L-signature musical and lively. Handling The 99 NEO is not only visually very appealing, it also does not show any weaknesses in terms of workmanship. The only weak point might be the ear cup's attachment to the headband, but that's more of a haptic "weakness" than the materials would give in. The ear pads could be a bit larger and deeper, but the padding is extraordinarily comfortable, even if it rests slightly on the (large) ear. Other pads (e.g. those of the Brainwavz HM5) provide a remedy here. Even though I am very sensitive especially with the padding of the ear cups, for example, if my ear bumps against the inside or the pads do not completely enclose my ear, I have no major problems with the NEO even after hours, except for a slight feeling of pressure. The headband automatically adjusts to the shape of the head with rubber grippers and distributes the 260 grams (which also makes the 99 NEO lightweight) evenly across the skull. The scope of delivery includes a robust, fabric-covered cable with microphone and remote control, which is connected to the left and right of the headphones via mono jack (3.5mm). In addition, there is an airplane as well as 6.3mm adapter and a small fabric box for the cable. All this incl. the 99 NEO is in an attractive hardcover case. With 103 dB at 26 ohms, the 99 NEO plays extremely effectively and also without problems on the smartphone. The isolation, on the other hand, could be a bit better, at least in terms of sound emission to the outside world. Direct neighbors can sense music on the bus or train even at moderate volumes and certainly sing along at slightly higher levels if they know the song. However, the isolation to the inside is quite good when the music is playing. Sound Bass The NEO actually offers me exactly what I expected in advance. A musical and full sound. This is primarily due to the bass, which clearly wears the pants on the NEO. Unfortunately, it sometimes lacks the necessary precision and firmness, so that it sometimes grumbles grumpily instead of hitting hard. Actually, a bit of a pity, since this fact is the only serious point on my list of shortcomings of the NEO, respectively runs like a red thread through the signature, together with the somewhat limited stage dimensioning. Nevertheless, the bass does a good job overall, as it is not outrageously overloaded or overpowering despite the clear elevation. Somewhat more neutral and colder music sources are recommended here in combination, since warmer ones could thicken the bass even more. However, it is always fun due to its powerful punch and it can also present finer passages without too much exuberance. In addition, it has an appealing sub-bass response if you cut back the upper range a bit with the help of an equalizer. Mids The mids are equally relaxed as they are detailed. Musicality is certainly the keyword here as well. However, they are warmed up a bit too much by the bass, especially when music provides a lot of "boomy" upper bass. In general, bass guitars are a bit too fat and boomy. This detracts somewhat from the overall performance of the mids, although it depends on the genre and mastering here. But the problem is more the interaction of the upper bass with the lower mids, which makes some things sound too fat and emphasized. I would wish for a bit more directness and firmness there. Towards the top, the mids clear up well and have a lively character. Voices sound a bit too warm, but still authentic. If you like very physical mids that can still score with a good range of detail and transparency, especially with less bass-intensive music, you might find what you're looking for here. To me, however, they are a bit "hollow" at times. Garishness or other nasty peaks are not discernible. Trebles The treble blends in with the relaxed, warm and softer sound of the 99 NEO. They lack a bit of bite and certainly some brilliance, but they still don't necessarily lack liveliness. They shouldn't pull back much more at all, otherwise the 99 NEO would slip into absolute darkness. So they more or less keep it alive. Sibilants or unpleasant harshness are a foreign word for the NEO. Even if cymbals could like to sound a bit more grippy and it sometimes gets thinner in the treble, I can't complain about the variety of information. However, you have to listen a bit closer so that you don't miss anything. Stage The stage won't make you tip backwards from your chair, because it has more of a studio character than live event feeling. On the other hand, it is just as well positioned in terms of depth as it is in terms of width, even if there are limitations in both cases. Imaging The imaging can convey a good 3D image due to the good utilization of the individual axes and an appealing breakdown to different layers, if the songs were produced that way. However, the bass ensures that the finest blade is not unpacked in the separation, as it sometimes acts a bit growly. However, instruments and details can be located well, even when things get hectic. Outro Unfortunately, I have no comparison to the MEZE 99 Classic. However, I can deduce from MEZE's own advertising that the 99 NEO will not necessarily meet the taste of those who already found the Classic too bass-heavy. Even if optics and sound are not necessarily connected, the appearance of a headphone can already give an indication of the expected sound, especially if the design is deliberately used as a support by the manufacturer. The 99 NEO looks robust and powerful to me (especially due to the headband and the silver brackets). Like a warrior that always attacks in the dark. For me, this is also directly reflected in the warm and rather darker sound, which is nevertheless quite musical and despite its physical character does not seem oppressive. I would still wish for a bit more bite and firmness, especially in the basement, but the NEO is for me a good example of how a harmonically tuned L-signature can sound, albeit a bit too relaxed for my taste. Despite the bass emphasis, mids as well as highs still have enough room to breathe and the audiophile demand does not come up short. For me, it performs consistently in a good range within the targeted signature over the entire frequency range. However, a few dB less in the bass can work wonders. MEZE

Please use this template for your bids to keep it reasonably consistent and assign your post to the category "Second Hand" under settings Specification (if available): Impedance: 32 Ohm Sensitivity: 108 dB Frequency response: 20 - 20000 Hz ... Condition: good, with slight signs of use Accessories: 8-core cable, flip case for storage, etc. Price: 60 $ Shipping/Pickup: 7 $ worldwide / can be picked up Description / additional / review / whatever: // please insert pictures //

Child, I can't find my hearing aid frequency range: 20 - 20000 Hz | sound pressure level: n.a. | impedance: 32 Ohm | dynamic For the older age group, the ARIA ME could be a very interesting solution, as the tuning of the sound to the hearing performance may again reveal new details Sound 7.5 Bass Mids Trebles Stage Imaging 7.5 7.5 8 7 7.5 Handling 8 Processing Comfort Earpads Headband Weight 8 8 8 8 230 grams Total 7.7 Price 149 € Quickcheck Pro Contra - good comfort - looks a bit cheap - very functional - tonal not always accurate - good ANC - bass extension - adaptation to hearing - out-of-the-box sound modest Intro AVANTREE may not be a household name to everyone. They are a company that specializes in various audio products. They have some Bluetooth speakers, headphones (with and without Bluetooth), and IEMs in their portfolio. I haven't had many opportunities to test their products yet, so my experience with the company so far is rather modest. However, one thing that runs through their products like a common thread is the somewhat exaggerated bass emphasis, at least as far as their headphones and IEMs are concerned. The ARIA ME is one of their latest BT over-ear models with some very interesting features. One of the special ones is probably the adaptation of the sound to the user's hearing ability, which is determined via APP using test frequencies. Handling Bluetooth: 4.2 Audio codecs: aptX-HD, aptX-LL, aptX, SBC, AAC Bluetooth profiles - HSP v1.2, HFP v1.7, AVRCP v1.6, A2DP v1.3.1 Operating range: Class 2, up to 10 m Bluetooth pairing: up to 8 devices remembered by the ARIA ME Simultaneous Bluetooth connections: 2 mobile devices Driver unit size: 40 mm Speaker impedance: 32 Ohm ± 15% Frequency response: 20Hz-20KHz Battery capacity: 650 mAh Play time: ≤ 24 hours (ANC OFF); ≤ 15 hours (ANC ON). Standby time: approx. 35 days (ANC OFF). Product weight: 0.23 kg Inner diameter / depth of ear cushions: 6 x 4 cm / 3.5 cm Outer diameter of the ear pads: 10.1 x 8 cm The ARIA ME is a typical BT headphone in terms of design, as it is often seen from other manufacturers. A quite functional design has prevailed here over the years and is picked up again and again. It sits very comfortably, as the ear pads are neither too big nor too small and enclose my entire ear. Unfortunately, I do bump the inside slightly, which creates a bit of pressure in the long run. The headband is quite sparsely padded, but in the end, this is not more elaborately made on the TEUFEL REAL BLUE, or SONY WH-1000XM3/4. However, there is one circumstance with the ARIA ME that I find somewhat annoying. The ARIA ME is not padded in the middle of the headband, as this is where the connectivity to the included headphone stand with built-in charging function is located. This ensures that the padding in the middle falls away and creates a solid point, which I also notice after a while (I'm not blessed with a particularly large amount of hair). But that's complaining on a high level, because the wearing comfort is good in total and I can also use the ARIA ME for several hours. The generous battery life also ensures that. I easily get 18 hours (without ANC) at high volume. As a codec, the ARIA ME not only supports AAC and SBC, but also aptX (HD & LL), which ensures a higher data rate. BT 4.2 is no longer the current state of the art (BT 5.2), but I cannot detect any connection problems. Even with 2 walls in between, I still have a stable connection at about 10m (laptop). Another nice feature is the use of the included "boom microphone", which can be connected via the 3.5 jack connector. This provides much better speech intelligibility and can also be useful for gaming and in the office. In the scope of delivery we also get a 3.5 mm cable, a charging cable (USB-C) and a robust but plain hardcover case. The build quality is also good, even though the ARIA ME does not look particularly sophisticated. In return, I find the complete operation via push-buttons more pleasant than via touch because I subjectively find the haptic feedback more reliable. The isolation is quite good on the inside even without ANC, but some noise penetrates to the outside world (at high volumes). The ANC does a good job on the ARIA ME. The low, monotonous frequencies are filtered well and the entire sound is dampened, although not completely eliminated. However, I don't know of any ANC headphones that can currently do that, even though the SONY WH-1000XM4 does an amazing job. However, the ARIA ME is always good for isolating oneself from the hustle and bustle in the office or on the road. Nevertheless, there is a slight background noise when ANC is turned on, but I personally do not find it particularly annoying. The ARIA ME can be personalized via APP (AVANTREE AUDIO APP) and the created audio profile can be loaded onto the headphones. This is then permanently implemented and available on every device. However, you cannot change the profile without the APP. If you want to delete it completely from the headphones, you have to reset the ARIA ME to the factory settings (+ & - button pressed simultaneously). Test tones (125 Hz, 250 Hz, etc.) are used to check how well you can hear certain frequencies and you turn down the volume until the test tone is barely audible. This is tested for the left and right ear. Sound Since the sound is even more subjective due to the individual adjustment of the sound to the hearing than without this option, I will briefly say a few words about the factory settings here. However, the review is then based on the sound adjustment to my hearing, even though cheating is possible here, of course. As far as possible, I tried to set the volume of the test tones to an absolute minimum, meaning when I virtually only suspect the noise. Without this setting, I have to say that the ARIA ME would not have achieved this score. Likewise, the ARIA ME is one of those candidates that I like better (because it's thinner) with ANC turned on. Without ANC, it is very bass-driven out-of-the-box, which has too much presence in the upper bass and therefore also seems quite boomy and overloaded. The mids can hardly assert themselves and seem quite muffled and veiled. The trebles lack transparency as well as energy and basically the ARIA ME is more of a bass slingshot without the need to create a differentiated sound image. The addition of ANC tames the bass a bit and the mids come through better. Thus, you can guess that there is more to the ARIA ME than expected, and so personal sound customization now comes into play. Bass I can turn 125 Hz as well as 250 Hz completely to 0, because even then I still perceive these frequencies without problems. This shows well how these frequencies are already boosted in the house signature. However, the bass now sounds much more balanced and tight than without the modification. Still, it is not the fastest and sometimes a bit uncontrolled. It does have a good punch and doesn't lose its fun character, but it no longer pushes the mids as hard and a few more details can be elicited from it. As it is, it does a solid job, even if it would like to be a bit tighter and bring more sub-bass extension. Mids For the mids, I work my way up more and more on the tone generator in terms of volume. At 500 Hz, as with the bass, I don't have to add any level, and even at 1000 Hz it's only a small volume increase of maybe 10% until I perceive the sound (starting from 0). At 2 kHz it is already 20%. Here perhaps my age-related loss of hearing abilities already comes into play, but it also shows me that out-of-the-box the ARIA ME (also due to the bass influence) has too little energy in the upper mids, which then makes them sound rather dull and lifeless. With the correction, they have much more playfulness and the sound clears up. I sometimes disagree when it comes to tonality, but basically they play rock solid now, even if they have slight deficits in separation. They are also still a bit too warm, but you quickly get used to that and the ANC mode (see below) can also help. The ARIA ME is not a detail wonder, but enough information is provided for relaxed listening, movies, or audio books. Trebles This is where it really becomes clear what the ARIA ME lacked. Likewise, the weaknesses of my left ear are again demonstrated to me here, but I was already aware of them before. So 4 kHz get a boost of about 40%, 8 kHz and 12.5 kHz even about 60%. In contrast, on the right ear it is 30% at 4 kHz, 10% at 8 kHz and 40% at 12.5 kHz. To me, this shows that my right ear is much more sensitive around 8 kHz, but also that the ARIA ME generally needed a significant refresh in the high frequencies. With the gained energy and transparency, the ARIA ME sounds much more lively, but remains relaxed. It's only very rarely unpleasant in the high frequencies and that must be strongly favored by the respective recording. Of course, this can be additionally influenced by the listening test, for example, by adding more level than necessary at 8 kHz, which can then affect sibilants, for example, but in my case I find the high frequency of the ARIA ME to be very pleasant and to stand out positively after the adjustment. Stage I find the stage of the ARIAME somewhat limited, despite the increase in treble. Little to nothing happens outside the head, and so the stage can be described as quite intimate without seeming cramped, however. Imaging The ARIA ME is able to produce a realistic 3D image in width and depth despite the rather small stage. However, the separation is not the best and I would like to see more airiness. The ARIA ME seems a bit ponderous rather than light on its feet, but all within acceptable limits that don't limit the enjoyment of listening to music.. ANC I actually like the ARIA ME best with ANC activated. I audibly lose volume in the sub-bass, but also (to a lesser extent) in the mid- and upper-bass. As a result, this now sounds a bit leaner and more balanced. The mids can assert themselves a bit better and the highs remain at the same good level. This means that the ARIA ME sounds most balanced with ANC and the sound adjustment, which is a clear difference to out-of-the-box and you like to listen a bit more carefully with the ARIA ME. If it should be a bit more bass for hip-hop or electro, I simply turn ANC off again. ANC only works when the headphones are also turned on (but there does not have to be a Bluetooth connection). Cable The sound in cable mode is basically the same as in Bluetooth mode, except that the personalized sound profile is not available, which again degrades the sound for my taste. For additional ANC, you need battery and headphones turned on. The cable mode has priority over Bluetooth. Outro At 149€, the ARIA ME is not a cheap BT headphone, but is at home in the mid-range. This price segment is just as strongly occupied by the usual suspects, such as SONY, TEUFEL, BOSE, SENNHEISER, etc., even if their top models are still significantly more expensive. But what distinguishes the ARIA ME now, or what makes it competitive here? I think that the personal sound adjustment to the individual hearing performance is to be emphasized. Likewise, the conversion option to a full-fledged headset (but the integrated microphone can also be used for phone calls and the quality is satisfactory), as well as the headphone stand with integrated charging function. Sound-wise, it is only usable for me if you also use the sound adjustment feature. I would also have liked to see more customization options, as SONY impressively demonstrates with their Headphones app. For the older generation, the ARIA ME could be a very interesting solution, since adjusting the sound to the hearing performance can perhaps bring to light new details that have been lost over the years. The bottom line is that the ARIA ME is a BT over-ear that performs on an average level in terms of sound without being able to stand out, but it has some nice features that can possibly justify the price to some extent. AVANTREE

Great overall package, tonal as well as technical frequency range: 20 - 20000 Hz | sound pressure level: 93 dB | impedance: 18 Ohm | planar ma. In the end, the HE5XX does almost everything better than the HE4XX in my opinion. Sound 8.6 Bass Mids Trebles Stage Imaging 9 8.5 8.5 8.5 8.5 Handling 8.5 Processing Comfort Earpads Headband Weight 9 8 8 8 355 grams Total 8.6 Price 180 € Quickcheck Pro Contra - open and detailed - not quite neutral - great bass - sometimes a bit thin in the mids - lively, but relaxed - there is not much more considering the price - "Lightweight" Intro The HE5XX is another collaboration between DROP and HIFIMAN and is supposed to be more similar in sound and appearance to the DEVA than to the HE500, or other models in the HE5 series, but I can't judge that because I don't have a comparison. What I can compare the HE5XX with, however, is the DROP X SENNHEISER HD6XX, which I currently rate as one of the best value for money and which thrills me with its neutral, detailed, unagitated and relaxed sound. At the same price tag, the HE5XX is a successful counterpart to the HD6XX, as it plays more openly and freshly, but has its strengths less in emotionality and does not bring the stoic composure of the HD6XX. Handling When I read the weight of the HE5XX, I had to look twice as it seems much lighter on my head. The headband is basically identical to the HE4XX, but the ear cups including the pads are lighter. Somehow, this also makes them seem a bit cheaper, but that's just a subjective observation based on the feel. The contact pressure is almost non-existent and yet the HE5XX sits very stably and thus also extremely comfortably. The pads could still be a bit softer and fluffier, I prefer those of the HE4XX, but they have the better space in comparison. The scope of delivery is similar to that of the HE4XX and is limited to a robust cable (3.5mm jack) with an adapter to 6.3mm. There are certainly headphones that leave a more valuable impression, but in the processing I can not reproach the HE5XX, even if you notice here the attempt to save costs of DROP in the material and design. I found this a bit less obvious in the HE4XX. In return, the HE5XX has the headband's ratchet back, which I like. All in all, the HE5XX is a very comfortable, open headphone with enough space for everyone, which is hardly noticeable on the head. The isolation is quite modest due to the construction. Sound Bass In the end, you get a very good planar bass with the HE5XX, just like with the HE4XX, with a great resolution and homogeneity. However, the HE5Xx adds a little more depth and sounds somewhat fuller in the bass range. Suits him well and is for me as an upgrade to the already great bass of the HE4XX to evaluate. I appreciate more and more the bass characteristics of a planar driver, as I hear the low frequencies all detailed out, but these are presented to me with a wonderful lightness, even if I would give priority to good dynamics in total, as I also like it a bit more physical. In return, I am impressed by the speed of the bass, but this is also slightly at the expense of dynamics. For me, the HE5XX still has fantastic bass performance and offers a new experience. Mids Unlike the HE4XX, the HE5XX sounds more lively in the mids and voices seem more open and not quite as intimate. However, it also loses some of the emotion and the HE5XX may sound a bit like a robot, working through the music with absolute precision and matter-of-factness. However, it does so in outstanding quality and the mids excel in detail and transparency. Sometimes voices lack a bit of body, but tonally I'm very satisfied, as everything also sounds like it's all of a piece. Electric guitars are particularly fun for me and even if I repeat myself, the HE5XX has a very pleasant lightness in its sound reproduction. Robotic might not be the right word in sum either, as the mids exude playing joy, but are perhaps a bit dry here and there. In addition, they move a bit more to the foreground compared to the HE4XX. Trebles An extremely discreet artificiality in the treble has remained, but the HE5XX seems more homogeneous and also more natural compared to the HE4XX, since the mids are on eye level with the treble. The treble is not additionally emphasized and is more on par with the HD6XX with its relaxed nature, even though the latter appeals to me even more and sounds more natural. Slight sibilants can be detected here and there, but that is negligible and not annoying for me, although I am very sensitive there. Stage In contrast to the HE4XX, one immediately has the feeling of listening to an open headphone. The stage clearly increases in width and the HE5XX also has the better arguments in the Y, as well as Z-axis. Imaging The ample space is translated very well into a multi-layered 3D image, which also takes place outside the head, even if this is mostly only the case on the X-axis, i.e. in the stereo image. Nevertheless, the separation is more airy, which means we have more space between the individual instruments than with the HE4XX. I would make slight criticisms about the location of the bass, as it is sometimes hard to pick up. This is not different in a hi-fi system and even desired or normal that the bass has no real locatability, but in IEMs and headphones it is usually centered behind the voices. At least there the "kick" is always well locatable, the HE5XX is here somewhat more diffuse and thus, if you will, more speaker-like. Outro In the end, the HE5XX does almost everything better than the HE4XX, which I sometimes find quite exhausting due to the treble emphasis and which also does not necessarily act like an open planar driver in terms of technical performance. In direct comparison, the 30 - 40 € more for the HE5XX, depending on the dollar rate, are well invested. I find the musical and transparent playing style with a lush stage and very good separation particularly appealing. With its lively nature, it can be a fitting counterpart to the DROP X SENNHEISER HD6XX, depending on your preferences. Tonally, it is similarly authentic and has the last word in the bass in comparison, however, I find mids and treble of the HD6XX more appealing, even if this is the more "boring" of the two in total and does not seem quite as open and unstrained, but can generate emotions more easily. The HE5XX is a great overall package and that at a very appealing price. If you prefer something more intimate and emotional, you can take a look at the HE4XX as a planar entry. I think, with the HD6XX and HE5XX you have two headphone weapons in hand and for both together not yet spent 400 €. DROP