DISCLAIMER: Vision Ears provided me with the VE7 in return for my honest opinion. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank Vision Ears for their kindness and support. The review is as follows.
Vision Ears is a name many in the industry associate with craftsmanship, precision and finesse, and that’s rightly so. The German brand have consistently produced monitors that look and feel as lavish as they sound, and it’s garnered them a great deal of praise throughout the community. We recently covered their 6-driver EVE20, which, among a sea of hybrid designs and alien driver tech, made the best of balanced armatures through sheer tuning. And, today, Vision Ears aim to repeat that feat with their new VE7: An all-BA, 7-driver IEM that shines solely through coherence, balance and technique.
Vision Ears VE7
Driver count: Seven balanced-armature drivers
Impedance: 12Ω @ 1kHz
Sensitivity: 116dB @ 1mW @ 1kHz
Key feature(s) (if any): N/A
Available form factor(s): Universal and custom acrylic IEMs
As far as unboxings go, the VE7’s is as classy and clean as always. Since I last reviewed one of their non-flagship customs, VE have actually updated the packaging to now include this black, cardboard enclosure. It does make the package look a lot more premium, especially with all its details throughout. The metallic VE print on top actually has a holographic effect to it, which glimmers green when hit with light. And, the glossy VE pattern on the side pops stunningly against the matte-black too, while remaining subtle and sleek all the while. As usual, packaging is one instant masterclass from Vision Ears.
The box opens via a magnetic latch, where you’ll continue to find tiny details like Handcrafted in Cologne and a drawing of the cityscape in gloss-black on the inside of the lid; again, gorgeous touches that’ll add to the unboxing. Moving onto the contents, you’ll see a signed, personalised greeting card from Vision Ears thanking you for your purchase. Then, beneath it is the VE7’s included case, as well as a bottle of VE’s cleaning solution. It’s all supported by plain cardboard. Foam likely would’ve looked and felt better for me here. But, in the end, it isn’t necessary, given the padding already inside that case.
This VE7’s metallic case is incredibly rigid, as it always is. And, it’s roomier than your usual puck cases are too, which will allow it to carry the accessories we’ll list later on. VE have actually omitted the metallic clasp and equipped this case with a magnetic sealing system instead. I think either will hold up perfectly well. The finishing on this case isn’t the cleanest in the world, though. The paint job isn’t flawless, and there are a couple glue marks here and there too. But, considering it’s a case that’s going to suffer lots of wear-and-tear anyway, they’re negligible flaws to me. Finally, while mine here is blank, you’re free to engrave whatever artwork you want on your case when you get your VE7. It’s what I did for my VE6XC, and you could even request complex graphics like comic book or manga spreads, which VE have previously done in the past.
The accessories inside the case include the following:
1x VE sticker 1x VE badge 1x 1/4” adapter 1x microfibre cloth 2x sets of desiccant 1x instruction manual 1x in-ear cleaning tool 1x leather carrying pouch
To me, this is about as complete as an accessory set can truly get. VE, as usual, go above-and-beyond for the extras, and they include tons here that a lot of brands should really learn from. I particularly appreciate how well-illustrated and in-depth the manual is, and I love the look and feel of this pouch too. The fact that it seals with a magnetic clasp is a bonus. All in all, VE aced packaging and accessories like they always have, and I’d love to see more efforts like this industry-wide.
Customisation, Build and Fit
Vision Ears make customisation a breeze with the their online configurator. It’s in the style of Custom Art or Empire Ears’ designers, which utilise 2D renders, rather than 3D models like JH Audio’s widget, or real-life photography like 64 Audio’s tool. But, it should nevertheless give you a very good representation if what your IEMs will eventually look like. And, they let you upload your own custom artwork onto their previews too. In terms of options, Vision Ears offer quite a selection:
16 transparent shells and faceplates 14 wood faceplates 15 sparkle faceplates 22 special faceplates (which include abalones, carbon fibres, pearls, etc.) 14 mirror faceplates 5 premium faceplates (which includes the VE7’s signature Fire Blaze design)
Beyond those options, you can then engrave your own artwork in an array of colours or add one of Vision Ears’ metallic logos, which come in 5 different shades as well. For my unit, Vision Ears applied this VE7’s signature design, which you’ll see on all the VE7’s universals. I personally love the look a ton. The contrasts between all the oranges, blues and greens are incredibly exciting, and the holography of the faceplate is striking too. To me, the one let-down here is the Fire Blaze faceplate comes at an extra €65-per-side for the custom VE7. It’s meant to be its signature faceplate, so I would’ve loved to see it offered as a free bonus. But, at the same time, it’s a material that likely isn’t cheap on VE’s part, so it is what it is.
The exact same moulds used to build my VE6XC and my ELYSIUM were used to build my VE7, so the fit on this CIEM is as superb as always. The canals on them are also trimmed slightly shorter, which feels more comfortable to me. Vision Ears tend to trim their customs a bit sleeker, so they aren’t as bulky as, say, 64 Audio or JH Audio’s CIEMs, which tend to press outward slightly. These more so just fill your ears, but they do so very smoothly, and very precisely too. In terms of build, Vision Ears, again, continue their flawless streak. The faceplates seal seamlessly, and everything from 2-pin connector to canal is machined just as precisely. Then, finally, lacquerwork on them is perfect too; not a rough edge or blotch in sight.
DISCLAIMER: 64 Audio provided me with the A18s in return for my honest opinion. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank 64 Audio for their kindness and support. The article is as follows.
Throughout the past decade, 64 Audio have cemented themselves as one of the most prominent, go-to in-ear brands in the industry. Professionals and enthusiasts alike have shown endless praise for their build quality and sound, but, really, it’s their band of innovative technologies – from apex, to tia, to 3D-Fit – that’s put them in the position they’re in today. All those pieces came together in their widely-acclaimed flagship A18t. And, now, 64 have come out with its companion. The A18s is a variant of 64 Audio’s 18-driver statement piece with new armatures, a new crossover network and a revamped sound: Levelling off some of the Tzar’s crisp, exuberant clarity for a warm, toned and textured sound made for the stage.
64 Audio A18s
Driver count: Eighteen balanced-armature drivers
Impedance: 8Ω nominal
Sensitivity: 106 dB/mW @ 1kHz @ 1mW (84mV)
Key feature(s) (if any): tia high driver, apex interchangeable pressure-relief system, 3D-Fit, LID technology
64 Audio ship the A18s in their customary packaging: A compact, red box, sleeved in white, then adorned all around with hi-res prints. This is a more efficient, pragmatic approach to packaging than the more extravagant, boutique stylings of a Vision Ears or Rhapsodio. And, I’m sure there’ll be those out there disappointed by the lack of lavishness here. But, given 64’s massive professional clientele, I can see why, logistically, prioritising efficiency is the approach here. And, despite its supposed simplicity, it does accomplish the crucial task of establishing brand identity and looking clean at the same time.
Unsheathing the box, you’re greeted by a message from company founder and chief sound designer, Vitaliy Belonozhko. It’s a very nice, personal touch. And, flipping it over, you’ll find this in-ear’s quick start guide here too. So, again, efficiency is the name of the game here. Following this is the personalised IEM case, which houses the earpieces themselves, along with their included accessories. With the A18s, you’ll get a shirt clip, a cleaning tool, desiccant and a pair of apex modules as well. The extra set here are the m15’s, while the m20’s come pre-attached on the IEMs. The only accessory I’m missing here is a microfibre cloth for cleaning. But, otherwise, it’s a very complete set packed inside one impressively tight space.
Now, the case I received with my A18s is the one prior to their recent rebrand; the rectangular, plastic one. The new case 64 now include with all their CIEMs is an aluminium, puck-like case. It’s very similar to the ones brands like MMR, Jomo or JH Audio include with a lot of their IEMs. But, where 64’s case differs is the foam inserts. Half the case is taken up by your in-ears with the cable securely tied down, while the lower-half is foam that holds the accessories, complete with slots for additional apex modules. So, you’ll be able to carry them along wherever you go. This foam also secures them all, so they won’t bounce around the case and potentially ding your precious monitors. Lastly, this case maintains the previous one’s water-and-crushproof features. So, all in all, it’s a more compact solution that, I’m sure, feels more premium in hand too.
Customisation, Build and Fit
Personalisation is half the fun when ordering a new pair of CIEMs, and that process is especially easy with 64, because of their superb online builder. It recently got revamped with the launch of their new website and now features a sleeker UI, as well as the use of real-life photography in their previews. This is unlike most other online tools, which use CG renders to preview designs that, in some cases, may differ from the actual product. Aside from choosing your faceplate, shell and artwork, you could also drop in and manipulate any custom graphic you wish to print or engrave onto your IEM. And, the tool also saves all your changes automatically, so you won’t have to start over each time you close your browser window.
The personalisation options you get from 64 Audio are fairly diverse. You have a total of 54 faceplate styles ranging from solid, translucent and glittered colours to more exotic materials like wood, carbon fibre, rose gold and abalone. You may also opt for add-ons like watch parts and rhinestones, or simply top off your IEM with 64’s metallic logos in silver or gold.
Unfortunately, that diversity won’t extend to their shell colour options, which – as a result of their 3D production process – is limited to a set of 5. Now, this isn’t ideal when many in the industry have begun offering multi-coloured swirls, with a few going as far as CNC-milled wood and carbon fibre shells (albeit, for a very hefty cost). But, again, this is necessary for 64’s current scale and clientele. And, there are plenty of other options in the market if aesthetics mean massively to you.
Another change 64 have recently included is the option to choose between 2-pin and IPX connectors. The IPX standard is pretty recent, and it’s designed specifically for touring musicians. It’s tailor-made for reliability, and it features resistance against water, dust and sweat. It is also a swivelling connector, which allows you to reposition your IEMs if you ever need to. And, it is rated for more plugs and unplugs than the 2-pin standard with an easier, more tactile swapping system too.
The disadvantage is in its newness. It’ll be more difficult to find replacements for IPX-equipped cables on the fly, while 2-pin-equipped ones are easier to procure. And, for audiophiles who’ve already collected a fair number of 2-pin cables, an adapter or permanent retermination will be required to use those cables with your new 64 Audio in-ears. So, if you’re an audiophile with an extensive upgrade-cable collection, and you won’t need IPX’s added reliability, 2-pin would still be my recommendation. But, if you are a working musician, IPX is the choice for ultimate convenience, reliability and durability.
As far as build, fit and finish go, 64 Audio continue to deliver with their custom in-ears. My A18s’s are flawless all around, and they air a level of polish indicative of 64’s stature in the industry. Their 3D-printed shells are among the clearest I’ve seen; not necessarily as pristine as a poured-acrylic one, but unquestionably top-class among its peers. That allows for a good glimpse into the in-ear’s innards, which, despite its immense complexity, 64 have managed to keep very admirably organised. From here, you can also see the tia tweeter in its tia bore, equipped with a mesh filter to keep out any debris.
For the faceplates, I opted for 64’s mother-of-pearl, which I think turned out sublime. They’ve cleverly inlaid this material over a base of white acrylic, which gives it a bit of substance and enhances its clean, pristine, angelic look. Like the shells, every bit of machining on it is pin-point precise. Its joint with the body is seamless and without a trace of glue or residue. And, the same goes for the apex port at the bottom of the faceplate. In fact, compared to my previous 64 Audio customs, I’ve found these to be the easiest in terms of swapping out apex modules. Whether this’s down to a slight change in their specs or pure, dumb luck, I’m not sure. But, it’s a positive either way. And, lastly, topping off the faceplates are 64 Audio’s gold-metallic logos. As usual, I adore the detail on them, as well as the slight 3D-effect they give off; a true cherry-on-top.
Finally, moving onto fit, the A18s joins its 64 Audio brethren as one of the most secure, precise-fitting custom IEMs in my collection. The company’s 3D-Fit tech (which we’ll discuss below) has proved key in preserving as much detail as possible from the original moulds, resulting in earpieces that simply lock into my ear canals and – crucially – don’t slosh around in use. This’s a big plus for artists with lots of high-energy choreography, or performers who move a lot on stage in general.
Now, with my 64 Audio A6t and A18t, that trimming style did result in a bit of tightness, especially in their initial few days of use, or if I’m going to them from a looser-fitting CIEM. To my pleasant surprise, that was not the case with this A18s. It had a slightly more relaxed fit without losing any of 3D-Fit‘s accuracy. And, the smaller faceplates helped relieve pressure on the outer ear too. To me, this is 64 continuing to refine their craft, and their reward is a perfectly-seated custom IEM.
What’s New?
Though the A18s largely builds off of the A18t’s design and sound signature, with it comes a good number of changes as well. Among them would be the balanced-armatures themselves. Although the number stays at 18, this A18s sports new driver models in its set. Then, paired with them is a new, more sophisticated crossover network. The two are responsible for the in-ear’s warmer tonality, which we’ll discuss in sound impressions and comparisons on the following pages. Then, also thrown into its signal path is LID tech. It’s one of 64’s many proprietary technologies, which we’ll now discuss below.
tia
64 Audio claim the conventional method of sound transfer – which entails a driver firing through its spout into tubes and dampers – results in resonances that’ll reduce transparency and resolution. Their remedy to this is a system called tia (or Tubeless In-Ear Audio), which cuts those tubes and dampers out of the equation, and has the driver fire straight down the ear canal. In addition, the driver has been de-lidded, so instead of firing through a tiny spout, its diaphragm is now freely radiating for what 64 claim will create higher fidelity, a more expansive soundstage and a smoother frequency response.
Now, the second element to this system is what 64 call the tia single-bore. It houses the tia driver and acts as an acoustic chamber, shaping its sound to deliver a “linear and coherent frequency response.” What it also does in the custom tia in-ears is compensate for the inherent variances in volume from one ear canal to the next; even within the same individual. By setting-in-stone the room in which the speaker will radiate, it allows for a consistent frequency curve from one A18 to the next and minimises unit variance as much as possible. Lastly, this design is also less likely to clog with wax over time.
apex
apex has been 64’s hallmark innovation for years now, and what it is is a valve that releases built-up pneumatic pressure from your ear canal. This pressure accumulates when the drivers pump air in your ear canal to generate sound, and that air has nowhere to escape. And, it will eventually lead to listening fatigue. So, through apex, 64 have created a controlled leak, allowing air to travel freely and the ear drum to breathe properly. This should greatly delay the onset of fatigue and lend the user sharper focus for longer periods of time, crucial for musicians or engineers who perform for hours on end.
A secondary function of apex is customisation in terms of the monitor’s bass response and noise isolation. The light-grey m20 provides -20dB of isolation and is default for the A18s’s tuning, while the dark-grey m15 provides -15dB of isolation, along with a slight bass cut, which we’ll further discuss in sound impressions. While neither of them will match the -26db isolation most non-apex monitors claim on their specs sheets, I personally found both apex modules perfectly adequate for daily use, and even behind a loud instrument like the drum kit. But, if you are particularly picky about isolation, 64 do offer an m26apex module, which disables all apex functionality and provides the industry-standard -26dB of isolation.
3D-Fit
3D-printing has grown widespread in this in-ear monitoring industry, and 64 were one of its first adopters. Its integration into their manufacturing process has allowed for a number of advantages. Trimming ear moulds digitally on a computer enables a finer degree of control. And, it’s a non-destructive method, so any error made during cutting could be undone.
64 claim their digital processing also preserves more of the ear canal’s fine details, while the traditional method of hand-trimming and wax-dipping could smooth some of these nuances over. And, digital moulds can also be reused with future orders, which’ll save time and money from having to send new ones over. While physical moulds can similarly be reused, they will inevitably deteriorate, which can cause a poor fit if the mould is too old. Digital moulds won’t have this shelf life.
Lastly, apart from those comforts, 3D-printing is crucial for fabricating the components in all of the acoustic technologies mentioned above. It allows the in-ears’ shells to be printed with the indent for the 2-pin socket, the tia bore and the apex socket all built-in, ensuring them consistent, reliable machining and exponentially streamlining their production process.
LID Technology
LID (or Linear Impedance Design) Technology is 64 Audio’s solution to source variance with multi-driver in-ears. Within the 18 in this A18s are several models of balanced-armature drivers, each with their own unique impedance curve. Because of that, the monitor’s frequency response (or tonal balance) can wind up shifting between different sources (i.e. portable players, mixing consoles, mic packs, etc.), based on how each driver set reacts to that source. LID’s role is to compensate for those discrepancies, so the balanced-armatures are driven equally by the source and the original sound is preserved.
This is a feature that’ll prove valuable to, for example, sound engineers like myself, who use in-ears with sources ranging from enthusiast’s portable players, to AVIOM monitoring systems, to noisy headphone outputs on a mixing console. But, for the enthusiast, I can see it falling between two camps. There’ll be those relieved by this A18s’s “immovable” sound, as they won’t have to worry about what source to pair with it. On the other hand, there’ll also be those who’d feel limited by the fact that they won’t be able to customise the in-ear’s profile with their selection of sources. But, the A18s is a monitor designed with pros in mind, after all. So, in that sense, I do think LID can be a great asset and a godsend to any engineer.
DUNU as a brand has been making some excellent earphones since their inception. Their DN-1000 and DN2000/J in 2012-13 were the IEMs to get and were considered some of the best earphones one can buy. They were succeeded by the DK-2002 and 3001. The 3001 was excellent when it comes to sound. In the mean time Titan series were the flag bearer at the lower mid range. They held back for few years and have been introducing earphones in every bracket since last couple of years.
They tried a single BA earphone back in 2013/14 but it was not much popular and DUNU concentrated on hybrid and dynamic driver earphones. But later last year they came up with an all BA “STUDIO” lineup with SA3 (3BA) and SA6 (6BA) earphones with semi custom shells. Both saw a change in ergonomics compared to DUNU’s mainstream design language.
SA6 leads this series with 6BA drivers per earpiece. Priced at $549 it comes in 3 color choices for back plates, Red, Blue and Yellow but the smoked shells is unchanged. Unlike any other DUNU earphone SA6 houses a tuning switch (we will talk about this later). It faces tough competition from plenty of BA based earphones in this price range like Fibae 3, BGVP DM8, UM mini MEST and TSMR 5 pro.
DUNU SA6 comes in a small and tidy retail box with a simple packaging. It does not have any trickiness to it leading into a fairly simple unboxing experience. The paper cover has an appealing color scheme, maybe DUNU tried to give it a similar color scheme as the earphones back plate. First accessory that greets us is the zipper carry case, it is of semi hard type (I wonder what happened to the hard cases DUNU used to provide). The IEM and cables are placed inside this case. All the accessories are placed inside a paper box placed under the case. There are 3 set of of silicone tips in S/M/L sizes (Blue core smoked body, white core transparent body and all blue) but it is hard to distinguish their bore sizes. Two additional quick-switch plugs, cleaning tool, quarter inch adapter and couple of documents end the list of things out of the box.
HOW IS THE CABLE:-
Most of the Chinese brands have been shipping their earphones with good cables these days, both aesthetically and functionally. DUNU SA6 takes it even further with an excellent stock cable. SA6 ships with a classy looking 8 Core, High-Purity,Monocrystalline, Silver-Plated Copper cable with patented dunu quick-switch modular plug system. The 8 core cable looks strong and can withstand some abuse. It has a skin friendly layer of TPU on each core which is fairly supple but is bouncy and a bit on the stiffer side, it does not generate a lot of microphonics but is slightly on the higher side compared to other cables. The biggest USP of this cable are the additional quick-switch plugs and unlike the cheaper models. Both 4.4mm and 2.5mm balanced plugs come out of the box.
All in all a good stock cable which is ready to be used with a variety of sources.
BUILD AND FIT :-
DUNU has been using metal housings for their premium earphones but the SA lineup has gone with a semi custom resin shell which gives it a nice and sturdy still a very ergonomically feel inside the ear. The ergonomically designed wing provides nice traction inside the ear. Ergonomically it is fairly comfortable but can get a bit difficult to keep inside the ear after a few hours. The resin shell is strong enough. It will not survive drops on marble or concrete floors though. Aesthetical highlight of the SA6 is its stabilized wooden back plate. It’s precisely cut and dyed separately giving each plate its unique pattern and color.
Thanks to the resin shell SA6 are very light and stays inside the ear without any problem. The shell is made with hand-poured uv acrylic resin from Germany using 3D printing technology. The shell is not as big as DM7 or even the SA3 and will fit most ears without much problem. There is a single pressure releasing vent for the lower end drivers.
Even though it has a three bore design the nozzle is not very wide and one can fit t200 to t400 size tips easily. Tips out of the box are good but a wide bore tips do give it more flavor. Sound isolation is very good with stock tips. It blocks out a lot of ambient noise.
The Vision Ears EVE20 is a new 6 BA driver universal IEM as part of the ‘Exclusive Vision Ears’ new product line. It is priced at €1300, (incl. 19% German VAT). Disclaimer: The Vision Ears EVE20 sent to us is a sample in exchange for our honest opinion in this introductory feature. We thank the […]
The FiiO FA9 is the company’s brand new flagship monitor featuring 6 BA drivers per side and unique switchable sound signatures. It is currently priced at $499.99. Disclaimer: The FiiO FA9 sent to us is a sample in exchange for our honest opinion. We thank FiiO for this opportunity. To learn more about FiiO reviews on […]
The Campfire Audio Ara is a new 7 balanced armature driver universal monitor featuring a Solid-Body Internal Design, T.A.E.C, and a 3D optimized acoustical construction. It is priced at $1299. Disclaimer: The Campfire Audio Ara sent to us is a sample in exchange for our honest opinion in this review. We thank the team at […]
The Gaudio Nair & Clariden are a pair of Swiss-Made triple BA IEMs, each with its own unique tuning. They are priced at €759.65 each ex. VAT MSRP. However, they are on presale until June 15th at a discounted price of €649 ex. VAT. Disclaimer: The Gaudio Nair & Clariden sent to us for this […]
The Audiosense DT200 is a competitively priced dual Knowles balanced armature driver 3D printed universal In-ear monitor. It is priced at $149.00. Disclaimer: The Audiosense DT200 sent to us is a sample in exchange for our honest opinion. We thank the team at HiFiGo for giving us this opportunity. To read more about IEM products we have […]
The Vision Ears EVE20 is a 6 BA driver universal IEM and marks the launch of the company’s new Exclusive Vision Ears new product line. It is priced at €1300, (incl. 19% German VAT). Disclaimer: The Vision Ears EVE20 sent to us is a sample in exchange for our honest opinion in this introductory feature. […]
