Tag Archives: value for money

FiR Audio VxV – Like Water

DISCLAIMER: FiR Audio and Project Perfection provided me with the VxV in return for my honest opinion. I am not personally affiliated with these companies in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank FiR Audio and Project Perfection for their kindness and support. The review is as follows.

FiR Audio is a company based in the U.S., who – over just the past couple years – have rapidly gone from in-ear accessory vendor to producing some of the most high-end monitors in the industry today. We covered their M in-ears last year and found each to have its own niche. Though, what they all had in common were exceptional build quality, superb technical performance – the M4 and M5, especially – and FiR’s clear, nicely-balanced house sound. Unfortunately, they also shared asking prices exceeding $1000. But, that changes today. After a long, cheeky and creative marketing campaign, FiR Audio launched the VxV (or 5×5): A five-driver hybrid with all of FiR’s tech, a smooth, versatile, airy sound and an MSRP of $999.

FiR Audio VxV

  • Driver count: Four balanced-armature drivers and one dynamic driver
  • Impedance: 16Ω @ 1kHz
  • Sensitivity: N/A
  • Key feature(s) (if any): Direct Bore drivers, Tactile Bass technology, ATOM pressure release system
  • Available form factor(s): Universal aluminium IEMs
  • Price: $999
  • Website: www.firaudio.com

Packaging and Accessories

The VxV’s packaging is perhaps its least-inspiring aspect, to be honest. It’s an extremely minimalistic cardboard box with a VxV graphic printed on top. Lifting the lid open, its insides aren’t lined with foam either. So, it’s clear that the M line-up’s fantastic packaging wasn’t feasible or replicable at the VxV’s sub-$1000 price mark. Still, though, for an IEM that only just clears that line, it’d be nice to see a hair more finesse or pizzazz. Perhaps, the M series’ packaging, but on a smaller scale.

Inside the box, you’ll find the VxV and its accessories held in FiR Audio’s leather case; the same one that comes with their M3. And, beneath it, you’ll find a simple warranty card and three stickers featuring FiR’s lagomorphic mascot: Firry. While packaging stickers with earphones isn’t a novel idea, I do appreciate the effort Project Perfection went through to design the graphics, rather than just settling with the typical company logo or product name. There’s actual personality to these stickers, and it ties perfectly into the VxV’s marketing campaign as well; a cool, rewarding easter egg for fans of the brand.

The case is a well-made, black, leather case with an almost-skin-like texture to it. It’s finished with stitching all around the outside and FiR’s symbol engraved on top. I think it’s a nice accessory to offer at this price bracket. My one concern is the same one I expressed on my M series review, which is the lack of a locking mechanism. This case opens by simply pulling the lid off; holding purely by friction. It grips really securely at this moment, and I can’t get it to budge even after violently shaking it. Only time and use will tell whether that stays in the long-term. Otherwise, though, again, it’s very nicely-made.

Inside the case, you’ll find an identical layout to what was shown on my M line-up review. The bottom half is occupied by foam with cut-outs made to hold the VxV’s cleaning tool and its assortment of tips. This IEM’s tip selection are as follows:

3 x single-flange silicone tips – small, medium, large
1 x bi-flange silicone tips – large
1 x foam tips – large

As I said on the aforementioned review, I’m a huge fan of this system, as it allows you to carry all of these accessories at once. The foam prevents them from moving as well. And, unlike the M3, M4 and M5, the VxV doesn’t come pre-attached with another set of foam tips, so you won’t have the spacing or sizing problem I described on that review. Again, though, I must note the absence of a microfibre cloth and a cable tie (apart from a plain, factory twist tie) here. Even at an MSRP of $999, I’d want to find those extras present. But, ultimately, FiR have provided the basics, and in a clever layout as well.

Build and Wearing Comfort

Despite the price drop, I’m elated to see that FiR Audio and Project Perfection haven’t lessened this in-ear’s build quality one bit. Their VxV features the same aluminium chassis as the M3, M4 and M5; robust, dense, yet light at the same time. And, the same care has gone into the finishing as well. The entire shell sports a uniform, anodised finish, and it meets its faceplate with a flawless join. Again, like the M UIEMs, these shells are impeccably smooth from socket to nozzle, which, might I add, is ridged to keep tips in place too. It is this unibody look that makes FiR’s in-ears feel as premium as they do.

Aesthetically, the VxV has certainly taken on more of a prototypical look; not as refined or lavish-looking as the M3, M4 or M5. But, it’s more of an intentional design choice, because, again, the finishing on this in-ear is as top-class as ever. Both sides have been engraved with clever industrial details: The coordinates to FiR’s HQ on the left, and this VxV’s production specs on the right, including its driver config and which prototype iteration finally went to market. To my eyes, they were engraved with even better precision than the M IEMs. Then, you have the DuPont faceplates – again, prototypical in style – with gloss-black inlays and FiR and Firry logos in white. Of course, aesthetics are extremely subjective. Some may prefer a more refined, colourful look. But, again, it’s been done with cleanliness and precision, and this is all that matters to me.

Like the M in-ears before it, I find the VxV a very comfortable in-ear to wear. Again, FiR Audio and Project Perfection have come up with a very light, very compact design that sits almost-vanishingly in the ear. Its upside-down-teardrop shape’s a perfect match for my concha, and it’s remained secure whether I’m stationary, moving or head-banging wildly. If I could add anything, though, like the M in-ears, I wish there was a bit more of lip towards the top of the shell, so it can grip onto the concha more. But, that aside, FIR’s VxV have truly been sized and weighted to be a breeze to wear; very near flawless.

For its connection system, the VxV’s been equipped with MMCX connectors. As I explained on my M series coverage, this was a decision made based on consumer feedback. It’s a standard that’s easy to get cables for, which may not yet be the case for FiR’s very own RCX standard. Then, again, FiR and Project Perfection’s socket of choice ranks among the best I’ve used in balancing security and ease-of-swapping. Then, underneath the sockets, you’ll find two ports on the VxV: One for its ATOM module, and one for its dynamic driver. Lastly, we mustn’t forget the bore’s wax filter, which shields the in-ear’s internals. You don’t get spares with the VxV, though, so you’ll have to contact FiR to get them replaced if it’s ever needed.

The VxV also comes with an SPC cable called the Specimen 25. It sports a coaxial make-up, so you’ll have half the amount of wires you typically would with a stock cable. As a result, you’ll get a more compact, more lightweight product. And, the cable’s tiny Y-split complements that further. But, it’s not bereft of flair either; sporting a metallic finish and an engraved Firry logo. Its matching, ring-like chin slider comes with impressive grip as well. Then, lastly, that design is matched on its 2.5mm plug. I personally would’ve liked to see adapters included here, or even a swap system like DITA’s Awesome Plug. But, I guess it wasn’t feasible. Still, it’s a stellar cable that easily surpasses that of the M in-ears in quality and personality.

Direct Bore Drivers

As lots of you probably know, all of FiR’s in-ears have entirely tubeless driver arrays, which they claim results in the most natural reproduction of sound. It’s a concept most synonymous with Mr. Belonozhko’s previous company, 64 Audio, and one that he’s brought to his brand-new designs here. An interesting twist Bogdan’s introduced with FiR’s rendition of the tech is the use of a foam-like material packed inside the IEM shell to tune the tubeless drivers. It’s clearly not visible here on their metal-shelled universals, so you’ll have to look for one of their clear-shelled customs to see what that’ll look like.

Now, compared to the M series’ tubeless set-up, FiR have actually added another component to their VxV, and it’s called the Sound Reactor. It’s basically a 3D-printed enclosure that the low and mid drivers fire into, and it shapes their outputs acoustically. The fact that it’s 3D-printed also makes assembly easier and more consistent. Then, because of that Sound Reactor, FiR have also been able to place the VxV’s ATOM filter right beside the woofer. They claim a 30-40% increase in relieving extra pressure from the dynamic driver, which fans of pressure-relief technology will surely be pleased to hear.

Tactile Bass Technology

Tactile Bass is yet another spin on FiR’s tubeless-driver tech; this time applied to their VxV’s 6mm dynamic woofer. Unlike the M IEMs’ implementation of Tactile Bass, this diaphragm doesn’t radiate freely throughout the entire shell. Rather, it’ll fire into that Sound Reactor enclosure. But, it ultimately still outputs into a tubeless enclosure, so you should still hear a ton of the same benefits. Like the M in-ears, it’s tech that adds verve to the lows, which we’ll discuss in the Sound section.

ATOM Pressure-Release System

FiR’s ATOM pressure-relief system is something you may be familiar with if you’ve had any experience with ADEL or apex-equipped IEMs. Like those technologies, what ATOM does is absorb pressure built-up within the ear canal and vent it out to alleviate listening fatigue. FiR also claim their technology aids these in-ears sonically by delivering a wider soundstage. Now, the main difference between ATOM and ADEL or apex is the size of the module. FiR’s ATOM modules are a fraction of the size. And, they’re comprised of different relief methods too. Rather than ADEL’s membranes or apex‘s foam, ATOM utilises surgical-grade tubing to relieve pressure. That tubing’s sub-millimetre diameter is what lets ATOM be as compact as it is. This VxV comes with a module that delivers 20dB of isolation and – unlike those in FiR’s CIEMs – is not swappable.

The post FiR Audio VxV – Like Water first appeared on The Headphone List.

Lotoo PAW 6000: Trickling Gold – A Digital Audio Player Review

DISCLAIMER: Lotoo provided me with the PAW 6000 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 Lotoo for their kindness and support. The review is as follows.

Lotoo is an Asia-based audio manufacturer; world-renowned for their high-performing digital audio players and sources. Though they initially broke onto the scene with the explosive-sounding, button-rich PAW 5000 DAP, Lotoo hit an all-new high just recently with the flagship PAW Gold Touch; a DAP acclaimed for its clean aesthetics, rugged build, blazing-swift OS and reference-grade sound. It found favours among enthusiasts and professionals alike, especially those seeking for as colourless a sound as possible. But, at the end of the day, it was still a flagship product with a flagship price, ultimately limiting its accessibility to a certain type of consumer. Thankfully, Lotoo are not ones to rest on their laurels. What we’ve got here is their PAW 6000 DAP: A $1300, scaled-down LPGT with equal class and a musical, yet balanced tone of its own.

Image courtesy of Lotoo.cn

Lotoo PAW 6000

  • DAC chip: AKM 4493EQ
  • Output power: 300mW @ 32 Ω
  • Audio I/O: 4.4mm balanced (also line out), 3.5mm single-ended (also line out)
  • Sample rate support: Up to PCM 768kHz and DSD256
  • Key feature(s) (if any): LTOS, PMEQ II and ATE sound-shaping
  • Price: $1300
  • Website: www.lotoo.cn

Page 1: Introduction, Unboxing and Accessories, Build and Physical Controls
Page 2: GUI and Presentation, Navigation, Connectivity and Storage, Battery Life
Page 3: Sound Impressions, EFX, Noise Floor and Power
Page 4: Select Comparisons, Verdict


Unboxing and Accessories

Lotoo has always excelled at packaging, and their latest effort is no different. The PAW 6000 comes in a sleek, matte-grey box with – emulating the player itself – a pseudo-anodised finish and gold, metallic accents throughout. The image of the volume knob even has the same, cross-hatched texture as the one on the actual device; an incredibly clever detail. All in all, it’s a great effort from Lotoo with a clean look, a textured, shimmery finish and excellent accents all screaming luxury.

Inside, you’ll find the same packaging layout as Lotoo’s flagship PAW Gold Touch; really convenient and clean. At the very top is the player itself sat within foam, and underneath are its accessories divided between three smaller boxes. The first contains a truly in-depth, multilingual user manual, a warranty card and two, tempered-glass screen protectors. A part of me wishes they’d have one pre-applied, but it’s a no-issue. Installation is easy enough, and a pair should suffice for most.

In the second box, you’ll find the PAW 6000’s Type-C cable. Again, as with the Touch, I love the look-and-feel of this cable; wrapped in smooth, braided paracord, then finished with Lotoo branding and gold-plated plugs on both ends. So far, the build of it is solid too, but time will tell whether or not that’ll hold up in the long run. For reference, the black capsule that says Lotoo has now loosened on the cable that came with my Touch. Though it doesn’t hurt functionality at all, it is a ding towards user experience. So, hopefully, it won’t occur with the 6000’s cable here and ruin what’s otherwise a great extra.

And, in the third and final box, we have the PAW 6000’s gorgeous leather case. I’ve talked ad nauseam about what extras like these can do for a product’s sense of value and completeness, especially in the $1000-and-up bracket. So, it’s a huge joy to see brands like Lotoo delivering here on a consistent basis. Then, on top of that, it looks like they’ve addressed the couple issues I brought up on my Touch review as well. This case no longer has a slick, oily feel to it; now drier, smoother and more akin to tumbled leather. This has also made it tighter – more firm – to the grip. And, lastly, they’ve widened the gap at the bottom of the case, which means easy access to the player’s microSD card slot. Again, massive, massive kudos to Lotoo for not only continuing to provide these extras, but listening to feedback and improving them over time as well.

Visually, the different (or differently-treated) material has also given this leather a new texture. It’s not as granular as the Touch’s, and the finish is more matte as well, which I think gives it a more aged, artisan sort of look. The indentations for the buttons have also been brilliantly refined; now three-dimensional and clean-cut compared to the Touch’s, which isn’t as sophisticated. On the back, you’ll find the same gold stitching lining the border of the case, which – again – beautifully accents the gold on the DAP. Now, the one gripe I have – a subjective one – with this case is Lotoo have swapped out the almost-tribal-looking PAW Gold logo on the back with a cleaner PAW 6000 one instead. I preferred the former, because of how much attitude it had. But, again, it’s subjective, and I can see a lot of people preferring the understated look instead.

Build and Physical Controls

As we’ve come to expect from Lotoo, the PAW 6000 is an impeccably-built audio player. Like the Touch before it, it sports a CNC-milled, aluminium-alloy body, finished in an anodised matte-black without a jag, nor a bump, nor a wiggle in sight; truly outstanding. In the hand, the 6000, despite its robustness, is also impressively lightweight. At 225 grams, it’s barely any heavier than my daily-driver iPhone 11 Pro (with case). Then, a combination of thin bezels, tight bends and a levelled top all contribute towards the player’s wonderfully sleek silhouette, as well as its deeply modern, sophisticated aesthetic.

Furthering that motif is the 6000’s slightly altered contour, which does away with the Touch’s inward grooves in favour of smooth, outward curves; particularly, along the sides. This not only gives the DAP a more uniform silhouette throughout, it also prevents it from compromising grip at the same time. The 6000’s slight convexity makes it easy to wrap your digits around, compared to the more blocky outlines we’ve seen from DAPs in the past. Then, lastly, around the back, you’ll see a lavish, dark-mirror finish. It lends an aura of luxury to the 6000, and contrasts the matte nicely. Though I can also see it becoming a potential debris magnet over time, this shouldn’t be an issue, especially if you decide to use the leather case.

Button-wise, the PAW 6000 features the standard four: Power, Play/Pause, Previous and Next, along with a small indent on Play/Pause for easy navigation. I would’ve preferred the Touch’s layout of two bumps on the first two buttons, but, in use, I’ve truly had no issues with either. The buttons, again, are precisely milled and depress with a solid, satisfying click; a tad more than the Touch’s even. Then again, I’ve also had the latter for over a year, so that may be the difference. Lastly, you may also flip Previous and Next in software if you’ve perhaps already accustomed yourself to another brand’s orientation.

And, finally, topping off the PAW 6000’s shell is a Lotoo classic: The golden volume wheel. It’s been their calling card since the original, aptly-named PAW Gold, and I’m glad to see its continual inclusion and refinement with each new player. The 6000’s iteration has been sized down quite a tad from the Touch’s, owing to its smaller stature and its now-level top. As a result, it isn’t as easy to get to as the Touch’s, and it’s a bit more difficult to turn too. I’ve found if my thumb were right up against the case, I’d just catch the edge of the wheel with the tip. So, I probably would’ve liked the wheel just a hair wider.

The post Lotoo PAW 6000: Trickling Gold – A Digital Audio Player Review first appeared on The Headphone List.

Rhapsodio Orla – Lush Libations

NOTE: The Rhapsodio Orla is currently out of stock and unavailable for purchase until further notice.


DISCLAIMER: Rhapsodio provided me with a discounted price on the Orla 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 Rhapsodio for their kindness and support. The review is as follows.

Rhapsodio is an in-ear manufacturer based in Hong Kong, spearheaded by the ever-electric Sammy Mak. Sammy is well-renowned – and well-acclaimed – in this industry for his adventurous exploits in the realm of dynamic drivers, as well as an ever-rotating carousel of products that blink in-and-out of his skunkworks at the drop of a hat. But, what sets Sammy (and Rhapsodio) apart is that there isn’t one among them that you can call a throwaway. From their entry pieces to their flagships, there’s a special sauce to Rhapsodio you’d be hard-pressed to find anywhere else. Today, we’re looking at their latest from the former. The Orla is a $300, single-DD IEM with its unique riff on organic, along with the chops to pull it off.

Rhapsodio Orla

  • Driver count: One dynamic driver
  • Impedance: 32Ω @ 1kHz
  • Sensitivity: 96dB @ 1mW
  • Key feature(s) (if any): Proprietary dynamic driver
  • Available form factor(s): Custom and universal acrylic IEMs
  • Price: $300
  • Website: www.facebook.com/rhapsodiohk

Build and Accessories

The packaging Rhapsodio have prepared for the Orla is truly stunning. The in-ears come inside a chest-like wooden box, complete with a sliding lid that’s beautifully engraved with the company logo on top. There almost feels like a Japanese influence to it, reminiscent of a sliding shoji opening to a tatami within. In line with that, there’s also something Japanese about how the wood’s been treated as well. The box feels gorgeously smooth throughout, and it’s clear tons of care had been put into both the lacquering and buffing stages of the manufacturing process. Once again, this one certainly ranks among the best unboxing experiences I’ve had at the entry level, and I hope to see more step up to this standard. Bravo!

Sliding the lid open, you’ll find the interior foam-padded on all sides. It’s been lined with this beige fabric, reinforcing that Japanese agriculture theme again. In the centre are the IEMs stored within Rhapsodio’s also-incredible carrying case. It’s a semi-soft case equipped with a carabiner, no less. And, the materials and silhouette Rhapsodio have used here are quite reminiscent of products from brands like Krumpler. Given my affinity for their pouches – especially for audio gear – this is a case I can absolutely see myself using daily. Plus, as if the case didn’t belong on a belt hoop enough, it even opens at the top, allowing easy insertion and extraction while on-the-go from the hip. Inside the case is a silky fabric lining to keep your in-ears snug, and there’s even an inner compartment where you can keep your ear tips, adapters, etc. Then, finally, you have cosmetic touches like the Rhapsodio logo on the side too. So far, it’s been an absolute masterclass from them.

The only qualm I have with the Orla’s unboxing experience would probably be the essential accessories. Funnily enough, Rhapsodio have done the exact opposite of what most companies practice and eschewed these essentials in favour of a more luxurious first impression. In exchange for the wooden box and the carrying pouch, you’ll give up the cleaning tool, microfibre cloth and desiccant. If you’re someone with experience with CIEMs, you’ll most likely have those items in your possession already. But, especially since the Orla is an entry-level IEM, some may be disappointed to find them gone too.

Finally, moving onto the monitors themselves, Rhapsodio’s build quality is top-notch. Both earpieces feel solid, and I love how they’ve been contoured too. They’re secure without being overly tight, and the fit is always reliable; locking in with a simple twist, without any additional finagling required. The shells are a barely-translucent black, and the lacquerwork on them is flawlessly sleek. Every curve feels smooth, including the join between the shell and the faceplate; truly seamless.

On these faceplates, Rhapsodio have used a material I’ve never seen before: A transparent, rainbow-like foil that shifts in colour depending on the light and the viewing angle; gorgeous to experience in person. The only fault I found on my pair would be the cleanliness of the right side. That side had to be redone due to a channel imbalance Rhapsodio found prior to shipping, so there’s a bit of debris here and there that’s not the most pleasant to see. But, otherwise, these are a truly well-made pair of IEMs, and that right monitor could be a teachable experience for Rhapsodio’s process moving forward.