Led has always been mainly for video. Occasionally they may be used for photos, but the lack of power and color accuracy is something that most will stay away and stick with flash. Nanlite (previously Nanguang) introduce something interesting this time around. The Nanlite 300 is the fine line between flash and general leds. It may not be strong enough to replace big studio flashes, but its pretty much on par with a speed light, comes in a bowen mount, and pretty accurate in colors. Interested? Read down below.
Disclaimer: This light is loaned from my local retailer, SLR Revolution. I am not given any money to write this review and will have to return it soon.
The Forza 300 is very well built. All metal construct, grooved locking knobs on the head to hold up any modifier you put infront of it, and a metal ballast with plugs that locks to prevent accidental removal. It runs on either 2x V Mount battery or with the adapter that comes with it. The ballast (the metal tower on the left) controls the light and houses all the batteries. It comes with a metal clamp that allows the ballast to be mounted on the light stand, acting as a weight to ensure stability.
The head itself is light (2kg) as all controls and power management is housed on the ballast. Power can be changed from 1% to 100% and there are host of light effects such as tv and broken bulbs for those that want to shoot videos and simulate those conditions. The power can also be separately controlled by Nanguang remote controller as long as the channel is properly setup.
The power goes from 1-100%, however it never felt like it is 1%. It is closer to 5-100% instead but that probably does not matter as most will not be getting it for extreme low light usage without a modifier. At 1m with the reflector provided, it measures over 32500lux, that is pretty bright. (Most light sticks measure at around 3000lux) Color temperature ranges from 5780-5820, which is fantastic and better then even most studio flashes.
However power is just one of the parameters of light, the more important aspect is: How great is the color?
In short, great but could just be a little better.
Above is the image of a Sekonic C700 Spectrometer that measures color accuracy in terms of CRI. 94.2 is the measurement at minimum power while 96.0 is the measurement at maximum power. To put into perspective, flashes are usually in the 98-99 region while the sun is like 99.9. Both never quite reach the 98 rated by Nanlite. The little brother Forza 60 did not reach the 98 CRI either but at did scored a minimum of 96 and a maximum of 96.9.
However CRI is ultimately a average of multiple spectrum, the important part is how does skin tone reacts and for that its pretty good. As long as you are not lower then 10%, it easily passes 90 point for red, pink and biege. What that means is skin tones will render naturally, with good accuracy and tones. I put it to the test below.
On the back left acting as a rim light was the Forza 60 while on the right top mounted with a beauty box + socks setup, was the Forza 300. With a bowen mount, the Forza 300 makes finding and mounting modifiers for it a breeze. Rather then talk about the colors, I will let the pictures below show the results.
Shot at about ISO 400, F5.6, 1/100, the results turn out pretty good. 3 different outfit, 3 different color, great skin tone output. Editing it was a breeze, there was no resistance when pushing color or weird tones that make Led light editing tricky. Overall color especially for skin tones was great, the 3 different Qi Pao also look rather stunning in terms of colors and details. With the ability to put mods, this is a great light for video and photos.
In summary, it is a great light. Color could have been a little better, especially considering the price, but even as it is, this ranks one of the best led lights I measured so far. Coupled with the ability to put mods, this is a great light both for video and photo works in a studio.
You can get the Nanlite Forza 300 from SLR Revolution for about $1300 SGD.
Portraits were shot with theFujifilm GFX100 or and the Forza 300 product shots were done with the Olympus EM1MX
The Fujifilm GFX100 102 Megapixel Camera is out. I have to say I am absolutely excited from its launch, to its first shoot and even now. Everything about it shows how far we can go with modern day digital photography.
Disclaimer: I’m a GFX fan, I own the system since 50s and every lens except the Macro and the 100-200 zoom. I shoot them extensively as a hobbyist and assignments.
The GFX100 is what Fujifilm promised on spec sheet to be a modern take on what a medium format camera is. Beyond its larger sensor and image quality prowess, it promises modern day performance similar to how you would use any mirrorless, and my weekend of extensive usage agrees with it, at least from a portrait photographer point of view.
There is much to say about this camera. For those that wants the summary:
It works like a modern day Mirrorless: AF, IBIS, Low Latency EVF, and even 5 FPS
Image Quality is phenomenal
Its big and heavy
I didn’t like the grip
I think handling can be improved
Banding can happen in extreme cases
With the summary out of the way, lets go through the items one by one.
My first shoot was in the bright sunlight, slightly back lit situation. From the get go, the GFX100 is responsive. It AF quickly, much faster then the 50s, and it is dead accurate. At least 95% of my shots are tact sharp in focus, and the 5% is just soft but still usable on size down. There is the occasional out of focus, but I will attribute it to either bad handling on my side, or the subject is too close and too fast moving, like a little kid running under you.
For the purpose of walking, spinning and focusing in both bright, backlit and dark situation, the continuous AF (CAF) is accurate and quick. The only time it faltered in low light, indoor lighting similar to a house at night, the CAF just hunts a little too much but the single point still works great and quick to boot. Definitely not as decisive as the XT3 here.
Eye AF on the hand do not work quite as well. It seems to jump and loses the person face rather easily. I tried it a few rounds and decided moving the AF point around and use continuous or single AF is still the better way out.
However AF will be useless if the EVF latency from the GFX50s is still there. Luckily Fujifilm fixed it totally this time. In fact, between what you see and the actual scene, I reckon its really similar to any mirrorless out there. This may seem normal, but 50s had like a 0.2s latency or something, X1D probably worst. Whats more, the EVF is huge, bright and really sharp. There is one thing the GFX100 could not overcome, and that is the blackout. Between each shot, there is significant, noticeable blackout. It is quite distracting and probably more so if you do sports or quick action.
Talking about EVF, I would also like to highlight that finally you can check sharpness properly. GFX50s had this oddity where zooming in playback images, it just look soft but in reality tact sharp on the laptop. That issue seems to be gone for the playback here in the GFX100.
Touching on sharpness, I still find the photos pretty sharp at the pixel level. I am still editing at my 200% zoom and felt it was no way worst off then the GFX50s at that zoom level. This applies to the 63mm and the 110mm lenses I used extensively so far.
The magical image pop. I’m sure the sharpness of the lens and probably the 100mp has some contribution, but sizing down and applying sharpening resulted in photos that I felt had more pop to it. Maybe its a placebo effect but to me the subject seems to transit a lot more sharply when the distance between the subject and background is huge, while in the the gradual areas, its still smooth as usual.
Another area that has a subtle improvement is the dynamic range. I put it subtle as whatever I did here in terms of pushing and pulling, I felt my GFX50s can do it too. It just felt slightly easier, like there is just more wiggle room. However I do not have any scientific test on hand but photonstophoto have the measured results that put the GFX100 about 0.3+ stops more DR then the GFX50s and more then everyone else except the Phase One with their true 645 sensor.
Fuji claims the lenses were built for beyond 100mp. I believe they are built for more then 50mp for sure, and maybe some of them like the 110mm is built for beyond. It looks incredible on the GFX100, with ultra sharp images, extremely low CA and near perfect resolution anywhere on the frame. Fuji also thought about the future, giving it the LM motor to ensure its speedy when a better AF systems comes along. Notice the sparkling dots behind, no LOCA, and on a 100mp photo. Kudos to the optics guys at Fuji and their lens design.
So far I covered all the outdoor stuff, now it comes to the last factor I believe is essential to complete this image/camera package. And that is the In-body Image Stabilizer. For all the high megapixel users out there that do not have one, notice how painful it is to shoot a sharp photo with say a 110mm? You will need 2x or even 3x the shutter to focal length to ensure consistent sharpness. IBIS is not only about low light, but also to ensure every shot counts and maximizes that 100mp in the camera. With the GFX100, you almost never need to worry about raising your ISO just to counter shake or to ensure consistency in not so bright days.
Of course IBIS is also useful for all sort of other scenario, such as the above, mixing light with the ambient on the back and a flash on the front. The flash is only at 1/128 power and shutter was hovering around 1/30. In the GFX50s, I would be force to raise two stop of ISO so that I don’t get those soft looking images due to flash and ambient mix coupled with shake. On the GFX100, I can just shoot. It also affords me better flash control since I can use lower ISO, which gives me more headroom in post processing.
To bring the camera to the modern age, GFX100 lost the dials and gain additional digital displays. They are useful, especially the rear one which gives you a clear view of your setting without cluttering the main image view. The top can be used for histogram and setting views, which will continue to show the last setting view even when the camera is off. I can imagine Fuji unlocking more use for the two LCDs in the future with more firmware.
So with all the good points, I did raise some bad one right up front. Firstly I did not like the grip. It just didn’t felt as secured as my GFX50s of the past. Maybe its the balance or the now heavier body, but I felt less secure one hand holding the GFX100 with 110mm compared to my GFX50s with a 250mm. The vertical grip is also not great to hold, its just weirdly different from the other grip, and button placement also differs. I also hate the lock on the vertical grip, which I constantly accidentally hit when I put in and pull it out of my bag, resulting half my buttons locked and I have no idea why till I see it. I prefer Olympus solution of C-Lock, which is at the back and allows me to choose what to lock.
On the buttons, or the lack of it, the GFX100 for a modern digital camera has not enough buttons. They remove the 4 way from the bottom, and this result in lost of some really crucial ones like WB. After mapping everything, I still lack a button or two, something I never experienced on the 50s. My last complain on the button is the placement, Who thought putting them in a column next to the LCD is a great idea? It is hard to stretch to the play button, which I use at times keeping my eye to the EVF to do some chimping in the bright outdoors, and I keep hitting the display/back instead.
There is one point on banding I written above. It happens in rare scenarios, such as raising EV for +5, or shooting into really really bright highlights and doing some recovery. I did one night shot and when pushing it +5 and 100 shadow, the banding could be seen. This is probably due to PDAF, but it plagues pretty much every camera out there from my Olympus EM1X to the Sony A7RIII. If banding do occur, sizing down probably makes it goes away since unless you need the full 100mp, even 50/25mp is enough for most and the banding becomes a lot less obvious. Check out the Fujifilm GFX group on FB as someone had quite an issue with it in the highlights and if that is what you always do. For me, it did not affect a single of my shots outdoor with the sky and clouds behind the subjects back in normal usage even after recovery. I think that is good enough.
Even with the above issues, the GFX100 is still a phenomenal camera. The best there is in image quality without being clunky or unusable. Everything about it is making sure you can maximize the 100mp in most situation. It may not be your sports camera, or the best there is in image quality (Phase One 150mp holds that record) but what it gives you is near pinnacle image quality in most situation that medium format would have never enter, till now.
So who is this camera for?
For $9999 USD, it is definitely not for the faint heart.
For those who need the 100 megapixels, there really isn’t much else without paying twice or three times the price. Never forget a camera is a system, and GFX lenses can be said to be on the lower bound of cost in the medium format category.
Then there are people who want all the goodness of image quality with all the modern convenience of AF and IBIS. Be it hobbyist or commercial work, this camera will allow you to work like a normal mirrorless camera, but obtain image quality that you will not get in full frame cameras today. The GFX lenses are also one of the best, and as stated earlier, the GFX100 brings them to their peak.
For commercial photographers though, there is one more reason to use it: The GFX 100 is just more reliable in most scenario in ensuring a good, repeatable output. AF and IBIS ensure most of your shots count. Your shot will have lower chance to be blur/out of focus/under exposed. This maybe important to some as it builds confidence: you can’t always ask your clients to repose due to errors.
In conclusion , if you can afford it, like the GFX lens line up, and want that modern mirrorless feel, get it. It is the modern day behemoth of a camera.
There is also other improvements such as video, usb-c charging and dual battery for great battery life. You can probably read them from people that actually do use them. For now enjoy some extra pics below shot by this camera. I am definitely looking forward for many years of great imaging with this camera.
This is going to be really short post. Review of the Thinktank Spectral 10 sling bag.
I wanted something just nice in size, that fits the following needs:
Holds a variety of item
Can fit something as big as a 200mm f2 with hood
As small as it gets to fit my X series camera and 2 small primes with the 200mm
Has zipper pockets to hold other stuff
When I visited TKfoto, even they found this request rather hard. The 200mm f2 fuji has a really huge hood but thankfully it’s not exactly long.
They recommended me the Spectral 10 and after some testing in the shop, it seems to fit my needs. TKfoto offered to exchange within. a few days if it doesn’t.
I got home and immediately put everything in. And lucky me it all fits.
XT 30 with the 23/50/200mm f2. Charger, spare battery and two NP970 for my lights. It also has a zipper infront for my passport and also a small tablet, a zipper cover if you want to ensure nothing falls out, and a magnetic clasp for the top cover that has a nifty pull to unlock mechanism. So no forgetting to lock the bag and spilling your stuff out.
The total weight of my gear and bag weighs below 5 kg. It’s pretty light considering that half the weight is the 200mm!
So it’s all pretty good really. Small bag that fits everything. I recommend if you have a setup like mine: one huge Telephoto and a few other smaller prime.
Sometime, a maker decide to push the limit in both performance and price. A aps-c only super telephoto class prime that cost similar to those white ones you see at sporting event? This has got to be the first. Enter the Fujifilm XF 200mm F2 R LM OIS WR. The first of its class for aps-c or smaller sensor, 200mm F2 with a equivalent look as 305mm F2.8 on Full Frame. 200mm F2 are not new stuff, there’s the Canon and Nikon dating back from 1980s. Fantastic lens built with the best optics then. Both companies refreshed them in the past 10 years and when used on an aps-c, will give similar results to the one by fuji. What makes fuji special is its using the latest in optics design and built only for the smaller sensor, resulting in 10-20% reduction in weight and improved optics. At 2260g, it’s lighter then any 200mm F2 or its full frame focal length equals of 300mm f2.8.
Fuji is not one to shun from putting their latest in their more consumer centric camera. Infact their latest XT30 will out-perform the XT3 in auto focus till the new firmware is up. That may look and sound silly, mounting a small consumer priced camera that’s 1/6 the cost on a white beast of a lens. However what you get is a setup that weighs slightly over 2700g, with an F2 light gathering capability and 300mm view. There is probably no setup that performs similarly at this weight. Balance may be in issue but nothing an additional grip or monopod can’t solve, which is usually staple in such setups.
But there will be nothing great if optics are not there. And this lens delivers in spade! Extremely sharp, it even look as good as my GFX shots which is famous for sharpness. It’s also very well corrected, almost insignificant chromatic aberration (CA) at 100%. You can find some at 400% view but that’s really pushing it. The CA is also of a a light yellow variant, which is much preferred over the magenta ones.
But the biggest best thing is that minimization of longitude CA aka bokeh CA. This is a bigger issue then normal CA as they are hard to correct and tints the background especially things like silver railings above.
Speaking about bokeh, this is a cream machine. Even when compared to full frame equivalents. There’s nothing better then a 300mm f2.8 unless we take out the super teles of 400mm f2.8. And we still have f2 speed which means a faster shutter 😀
Other then optics, the lens is well built and also comes with a tele-converter. Initial test shows little drop in sharpness and with it, you can actually do some simple macro. 0.63X similar to a full frame anyone?
And one last thing, I like the bag it comes with. Slide the lens in with the camera attached. Not bad really for a traveling solution.
So wait for my full review, where I have more close up and testing. Also look forward to more reviews especially the X, GFX and their series of equipment!
Today was a great experience with Mezame Shashin-ka shooting the XF + Trichromatic Digital Back. Being a photographer that loves backlitted shot and ambient lighting, the XF had the great dynamic range and shadow recovery unseen in my other system Leica and Nikon. All shots are done without additional lighting support equipment or reflector.
The best function I love was also a simple one: the multi screen preview, showing the histogram, highlight burnout and image itself. This allow me to work to the cameras dynamic limit, something that doing on other cameras can be a slow process of switching screens. Theres red and pink to denote level of clipping. Really great stuff. The other thing is the AF system. It works on backlit situation. Something that can’t be said for many cameras today. And AF-R works too, though sometime I need to be a little patient and wait for the beep before firing off.
And no XF review is complete without a Detail zoom in. Rather then just doing it on screen, I printed it out on my printer in A2 and took a photo of the eye. Look whoes in there haha.
Thats all for my impression, had a great time with the system and Mez haha.
Some call it the Medieval Torture Device. I call it audio heaven.
I shall not mince my words: Abyss is butt ugly. On first impression, I doubt anyone will even figure how the heck to put it on to your head. Followed by its weight, its one of the heaviest in the 640g range. It is on first sight highly unadjustable and uncomfortable. How can something like this sound good? Add on the initial price tag of more then 5K, maybe JPS Labs went mad or something.
But the truth is actually far from it. Price has fallen to 4k + (Abyss Lite Edition. Same thing just less accessories). I got mine cheaper then a LCD4 in my area. Its actually highly adjustable, and quite comfortable once you are done with it. Infact due to its design, you wont be as affected by the ears and its surrounding area heating up like most other headphones. The sound can also be describe in one word: Sublime.
First lets look into the design. The Abyss is made of out of solid aluminium pieces bent and merge together. I have a feeling that if you throw it at someone, concussion ensures. Its probably the most solid built headphone I touched, even beating those of Beyerdynamics. The frame will probably last you a lifetime unless you get a car to run over it. The elastic bend is where the headphone rest on. The headphone was designed to actually rest on your head, with the ear cups lightly touching around your ears. This will put bulk of the weight on top and thus making it rather comfortable. And since there is little clamping force, its more comfortable then many headphones out there, lets not forget it also reduces the chance your ears heating up and sweating! The next question in most people mind now is how do you actually adjust it to there.
First we take a look at the top, the joint there can be extended by about an inch and slightly bent forward or back. So depending on your head size, just pull or bend accordingly. Next is the ear cups. Its of a asymmetric design. Attached with a magnet, it can rotated up to 18 positions. So just rotate them till you feel comfortable and the entire cup is resting on the side of your head. This adjustment takes around 20-30 min in my experience and its the most important phase of using this headphone. Infact, it will determine if you ever enjoy the headphone, both comfort and sonically.
The issue of this headphone and why many cant understand it when they do auditions is this: The adjustments of the entire headphone determines the sound. Clamp down too much and you lose bass impact and make the overall signature warm. Pull it too far apart and you will get a relatively bright signature. If the earpad fully sits on the side of your head, you get a full sound. But if you want alittle more dynamic, leaving a gap in the seal will give you a better experience. The thing is this headphone is finicky until you get it right. Once you obtain the fitting and sound you want, its onward to audio bliss, SUBLIME!
The Abyss is quite the monster to drive. With 85db/mw, its just slightly better then HE6 which is 83. On the Hugo TT, that will equate to violet or light blue for volume and even white if your track is soft. Its power requirements are also quite high, many amps will not have the grunt to fully power it to its fullest. Best to get something that can do 1w on output. When I first audition it with the Hugo, its rather flat and boomy. The TT did a much much better job as it had the current to swing. For me I use the Cayin IHA6 pictured on top. The IHA6 amp outputs 7w per channel, its a monster in power in a relatively small package. The abyss never needed more then 12 position to be too loud for me.
Laptop -> Hugo TT -> Cayin IHA6 ->Abyss
Powder Snow by Suara (Female Vocals)
Musouka by Suara (Female Vocals)
Liberi Fatali by Distant Worlds(Orchestra/Chant)
Send my Love by Adele (Female Vocals)
This section is based on a properly fitted Abyss.
This headphone is fast. Faster then my HE500 and HD800S. This gives it a more dynamic feel with nicer blacks as instruments tend to not decay longer then they should. In Liberi Fatali, the bass and the treble will never mix. I can hear the xylophone in the background clearly even with all the other instruments and chants. In Hotel California, you can clearly hear the guitar pluckings as the bass pounds away. Instrument separation is just fantastic as everything could be easily identified and heard.
Soundstaging and placement is fantastic. Its soundstage is wide and huge, comparable to the HD800S in size. However its Z Axis doesnt feel as great the HD800S, I will say HD800S feels a little more holographic then the Abyss.This also lead to a slightly better separation in the HD800S. In Liberi Fatali, instruments could be heard clearly but on the Abyss, you cant exactly pin point its position all the time unlike the HD800S. There is also a slightly different feel to the soundstage. HD800S felt like a concert hall with mid row seat while the Abyss is a more closer to the front. This is very apparent in Hotel California, where everything felt closer with the sound radiating out far.
The Abyss is transparent and detailed. To me its more transparent then HD800S and the HE500. Other then my KSE1500 which sounds about the same, everything else felt like there is a veil over them muddles things a little. In the tracks for the female vocals, the voice is just crystal clear with all the instrument sounding right. In Musouku, you can hear the little guitar plucks that is usually lost. It does mean that many modern recorded song for the masses will sound bad. You can probably pick up every crackle which can be downright irritating.
Vocals and mids are great, natural but a little recessed.The Abyss is just so much more relaxed and natural in the mids then the HD800S. In Send My Love, there are those claps. The Abyss just renders them like exactly how you would expect, a slap like impact followed by quick decay. The HD800S however sounded like just a mass of sound that feels like a clap. You cant tell the exact point of impact. The mids are slightly recessed on the mids for the Abyss. This gives them a feeling of being slightly further away. Due to the way the Abyss is voiced, it sounds perfectly fine, but put it next to the HD800S and it becomes apparent. In Powder Snow, Abyss felt like the vocals were aligned with the instruments while on the HD800S, the instruments played a more supporting role. That said, even though its slightly behind, the Abyss felt more natural. The HD800S vocals felt a little constricted when compared. However there is an issue at times. In Hotel California, the bass can at times feel like it overpowered the vocals due to the slight change in placement. Though if you are a basshead then this is totally up your alley.
Cause Abyss is King for bass. I tried many headphones before I purchased the Abyss. He1000, LCD4, HD800S, LCD3, TH900. When I tried the Abyss properly, I just could not forget how it sounded. I told a friend of mine who ran one of the shop that sells everything but the Abyss: “Sorry but I will probably purchase the Abyss. It is deep… deep like its name stake, The Abyss” The thing is the Abyss bass goes not only deep, it sounded like a sub woofer. It impacts the side of your head and ear. You can feel that rumbling vibration that was lost in almost all headphones. Most headphones just had a tight, deep and impactful bass. The Abyss had all that plus a bass that can be felt just like a Sub. Its controlled, you can pinpoint the point of impact, then its decay, rumble and vibration there after. That was not the only thing great, with all the rumble, definitely the mids will get affected, but it isnt. It really felt like a properly integrated sub woofer, clearly separated but part of the total audio landscape.
The last part is the treble. Here, I will say the HD800S had a more distinct treble that sparkles a little more but never confusing. It also means the Abyss due to its treble being a little more tamed to me, sounded much more pleasant with almost no sibilant. The treble also sounded more natural. The little bells in Powder Snow just felt like the small bells you would hear. It was reported in complex treble tracks, the Abyss may sound confusing in the treble region. I did not personally heard it in the tracks I used. Maybe it needs a full orchestra with lots of instrument in that region which I did not have access to.
There is something I noted of the Abyss when I tried it out with my friend. I usually listen on the Hugo TT at around Dark Blue while he does it at Light Blue. This translates to around 85db peak at 90+ vs 97db peak at 100+. We noticed at my levels, everything is in control, but at his preferred level, the bass had this weird vibration which we believe is distortion. We therefore believe that at higher volumes, the Abyss may have big and powerful bass but it will distort and therefore if you are sensitive to such things, do audition it at those level before purchase.
The Abyss is a medieval torture device that sound as deep as the Abyss. As a TOTL, I believe it deserves its place in todays context. You will be called nuts 3 years ago at 5.5k when it first debutted but now with pricing reaching similar levels of LCD4 (and maybe even the Focus Utopia), it is definitely a must try if you are in that market. Especially if you like quality sound with bass sounding like a sub woofer that is clearly missed in almost all headphones. Lets not forget its one of kind look which is actually quite comfortable.
The KSE1500 is world first In Ear Isolated Electrostat. Its not the first portable or earphone electrostat but definitely the first isolated one. Coming in at USD$2999, it cost a lot for in-ear monitor. The biggest question is: IS IT WORTH IT?
The KSE1500 comes with everything and the kitchen sink. The main unit and earphones, 5 Cables, wall charger, cleaning cloth, case for both the amp/dac unit and the earphones. Theres really nothing to complain about what is given except Shures should have just design a special pelican case that can hold both the amp and earphone together with a custom partitioned foam.
The amp/dac is really well built. Comes with its very own LCD screen that’s clear and bright even in the day. The amp is solidly built. The connectors used for the Shures are LEMO 0B connectors. This are dust proof connectors that can survive quite some abuse and cost a good amount too. The earphones themselves have non replaceable cables. At first I thought it may be a problem but looking at the connectors, the kevlar cables, the thickness of them, I think its not going to give way anytime. Which brings to the final buds themselves. I wonder what Shures was thinking cause sadly the buds looks and feels cheap. The left and right buds moldings are actually slightly different, with one side have fine lines on it while the other can be seen with the driver touching the outer shell. To summarise, the buds don’t look like they are worthy of a 1k IEM and this is a $2999 system. The buds are fully sealed and very light so I doubt they will get damage but definitely the premium feel could have been achieved just to pamper the buyer.
Usage and Comfort:
The connection is straight forward as the connectors are grooved. The connector is well secured and cannot be pulled apart without releasing the catch. The amp operation initially can be awkward and requires some help or the manual to understand the basic usage. Once you get pass that stage, its straight forward. The LCD shows the input volumes and aim is to keep them from clipping. The screen also shows the volume which can be changed by the knob on the top left of the amp. The knob is nice but the steps are quite sad. Shures actually thought 25 steps are enough for volume.
The amp has some additional function. It has a build in equalizer that actually works with minimum distortion to the sound. I use it quite often to get the music taste I want which I will touch on in the later sound quality section. The equalizer is a 4 point parametric with various choices and +-6DB setting. It has 5 build in presets and 4 additional user defined ones. Sadly you cant rename them so memorisation of which setting you did up will be needed.
The other options are setting of input volume reduction especially for high output dacs like the chord or AK players. The last item in the menu is the utilities to set things such as charge while using, battery report, lcd brightness.
The earbuds are easy to fit and comfortable. Being a 1 driver earbud, its small, light and can fit into most ears. The recommended were the foam tips and base on my personal usage its true. It also removes the most ambient noise. Shures claim 37 db reduction and I don’t think its that far off, definitely a better fit then my Lyras with complys.
The amp unit comes with a leather pouch and like every other amp you can choose to strap it to your player. The pouch has the ability to hook the amp through a belt or bag which is a nice touch but that will need a long interconnect cable which Shures actually provided (there is a shot 20cm and a long 1m long one)
For 3k USD it should sound like the best ever thing right? The answer to this: Subjective.
To start off I need a disclaimer, I never tried Layla. I tried most things below 2k USD, anywhere from the Shures SE215 to the UM Legend and JH Roxxane. So where do the Shures stand?
Compared to most earphones below the 1k USD, there is no fight. From the 1-2k USD mark, preference and genre of music plays a very large part to where the Shures stand. So lets start with the basic parameters of treble, vocals, bass, and sound stage followed by the characteristic of the sound which will cover the rest.
Liberi Fatali: Distance World from Final Fantasy
Hello: Adele 25
Powder Snow: Suara
Sometime When we Touch: Susan Wong
Hotel California: Eagles, Hell Freezes Over
Gate: Kisada Kyodan and The Rockets
Treble: Very good extension and smooth. The bells in Powder Snow can be heard very clearly with the “Ting” that’s extremely realistic. This is one of the greatest magic in KSE1500, guitars, bells, violins, all sound extremely realistic with almost no coloration. Its like hearing the real instruments themselves with great realism. Theres no harshness in the treble though some may find it bright as its reproduces everything. Also due to the treble extension and prominence, it adds a effect of airyiness in the sound which I will elaborate in the later section.
Vocals: Vocals are very strong. Both for female and male, they sound just right with a lot of air and smoothness. I especially love female vocals by Susan Wong and Suara on the KSE1500. Adele sounds magical too especially on the track Hello. The vocals are a little laid back by default compared to say my Lyra or UM Mage. They have a smoothness that’s unmatched on any IEM I tried so far.
Bass: This is where the KSE1500 is both good and bad. The bass is tight, fast and punchy when needed. However it lacks the slam and the boom. You will not get the shake in the ear feeling that some of the BA or Dynamic can give you. You also cant get the boom and decay like those of the Dynamic similar to the Lyra. What you get is extremely tight bass with no delay. This does mean it comes and go really fast, does not affect any other sound in the spectrum and respond very well to tracks that have a lot of fast beat. The KSE1500 do go deep, but you wont get the rumble like a dynamic IEM. If you want the impact, rumble and the boom, get something else. Else the KSE1500 is just right.
Soundstage: The KSE1500 has a soundstage that’s wide but not the widest of IEM. I couldn’t put a finger on the exact size but it’s a IEM scale sound stage so don’t expect open can stax like stage. It does have very good separation and depth. The requirement though is you must get the best sealing else things start getting muddle up which is the case with silicon tips I tried initially.
Characteristic: The KSE1500 is extremely neutral. High clarity, High details, everything just feels right, nothing feels overly emphasized as a whole. This lead to a sound that’s soo clean that sterile maybe the word to use. Its transient response is fast, nothing gets muddle up even in the most complex track with bass and guitar all mixed together. I quote a friend: “Listening to the KSE1500 feels like listening to the pure music in a sound proof room”. There is no distortion, no coloration, just pure music that feels like how it originally is. Which lead to the biggest issue of the KSE1500: ITS BORING! In a recent gathering of 8 of my friends, some audiophile and some casual listeners, those that did not like it biggest complain was its just boring after a while. The sound feels in your face,:clear and correct with no wow or spectacular factor. This can be rectified in EQ, my favourtie being the vocal boost, to bring the qualities that you prefer up front. The KSE1500 equalizer is very good, almost no distortion and the earphones respond very well to them. Somethings can never be rectified such as a warmness of sound and increasing the bass impact, at least not with the build in EQ or those on most devices.
How can we be talking about value for the world most expensive IEM? Or is it really? $2999 you are getting a earphone AND a amp/dac. Now lets look at top of the range IEM such as the Siren series on Nobel K10, couple them with a decent amp and you will probably break the $2999 mark easily. Lets not forget the KSE1500 is working at 100% potential due to a whole system design while for most IEM, you will probably need to hunt for the most synergy amp which can cost anywhere from few hundreds to thousands. You also get a DAC which may not be the greatest but definitely a step up from your mobile phones and entry DAPS.
So where does all this leave the KSE1500. Is it the GREATEST? The answer for me is YES, a true TOTL, flaghip of flagships. But to many others it will be no. Its probably 1-2k good but 3k probably not unless you are into its sound signature. The KSE1500 excels in clarity, detail, transcient response, and seperation. Bass is good but probably not the quantity some wants them to be. Nethier is its soundstage the widest ever. So before you make a purchase on the KSE1500 or any othe TOTL iem, make sure you can audition it or comes with a return policy.
And for me, Im loving it everyday more then the previous. It has reached a point that my HE500 no longer sounds right and my Lyra is actually muddy even through a Chord Mojo.
The Chord Mojo is the newest product launch just this Mid October by Chord Electronics. Mojo, the short form of Mobile Joy, is the 3rd battery powered DAC by Chord and also the smallest and most affordable of the series at just S$899. Hugo(S$2800) and the Hugo TT(S$6500) before it are many times the size and price yet provide the performance that almost any audiophile will rave about. Will Mojo rise up to the standards of its predecessors? In short, totally!
The Mojo is the size of a park of card and maybe a little thicker. Made of solid aluminium coated black with 3 round balls as buttons with various sockets. The words and icons are laser etched to the surface and the black matt coat is relatively scratch resistance.
A total of 3 digital inputs and 2 3.5mm stereo outputs are found on the Mojo. There is no analogue in or balance ports, the whole design purely focusing on its DAC and output to portable headphones. The digital inputs are Optical, Coax and USB, covering most input types that a DAC could consume.
The 3 balls work as buttons, with 1 as power and 2 as volume. Each of them will light up in a series of rainbow color to represent the bit rate and volume. The colors are honestly hard to remember but are really useful and will be described in the next section. The balls spins about in their socket but so far I do not really think they are better then buttons except being fancy.
In totality, the Mojo is a solid design that is relatively small and solid. Balanced out would have been nice in the form of AK 2.5mm but I’m not really complaining at this price point.
The Mojo in use is rather interesting.
First the the size: Yes it is rather small but it makes stacking with everything touch screen troublesome. The straps will have to go over the screen as most touch devices are rather long and big (16:9 ratio). Considering the market that Mojo is targeting, making a long and thin device would have been better. Other then that, it is really small for its capability and if you have a AK100/120 or DX50/90, this guy would be right at home as a stack though a little thick. Using a velcro will probably solve the issue, though it will leave a mess when you want to remove it.
Secondly is the ports: They are good but for a portable, I wonder if it would have been better if all the ports are on one side. The issue is wires going in and out of both sides means stacking and putting it into the pocket is rather impossible without hitting the cables on either end. Infact I lost a few connections via USB with my ZX 2 when my digital cable was leaning onto something in my bag. If everything was one side, it would have been a more optimal layout for portable usage.
Thirdly buttons (or balls): Its a love hate relationship with those balls and where they are. I quite love to just fiddle with them and roll them about, but the way they are positioned makes them either really hard to press when stacked, or really prone to being pressed by anything. If you faced the words “mojo” inwards, the balls will need your finger to reach in to toggle them, if you face the words out, anything just touching the device from an angle probably will mess with your volume.
Forth the rainbow colors: This is actually one design I actually love. You can dim or brighten them by pressing the volume buttons together. Knowing the device is on or off is simple with those big balls of glowing lights. The colors initially were confusing but after a while you just need to know red is the lower, green is middle and violet/white is up top. In-fact what I love most is based on the headphones I use and the color I listen them at, I can set the volume before playing easily. There is also a small colored led under the power port. It works rather well to tell how much power is left.
Some other stuff: Line out is achieved by pressing the two volume buttons at start up. This result in two violet lights and if its too high voltage for your amp (3v), just press the volume buttons to reduce it. 3v was too high for my CDM but perfectly fine for the WA22. The device runs for about 8hrs via USB and high res songs, gets quite warm and even hot when its charging. However no worries as there are internal circuitry which will shut itself off at 65c. This prevents damages to itself or accidental burns to your skin.
The most important part for any audio device especially a DAC/AMP. Mojo in one word: Superb.
Headphones: Lyra, H6, ESW10, RS1
Songs: Orchestra from FF:Distant Worlds, Gate, Hotel California, Songs by Susan Wong, Songs by Suara
Amps: WooAudio WA22, ALO CDM
Firstly to start of, its a relatively neutral sounding amp, leaning towards energetic and musicality. Hearing it through the many song, I find it has no true preference to any genra, making good work of anything thrown at it without any emphasis or harshness.
The greatest value of Mojo to me compared to any DAPs and DACs till 5k SGD is the energy in the song. No matter which song I played, it always has this energy that no other device I heard could match. The moment I switched to my ZX2, iPhone or my CDM in built DAC, they immediately felt for a lack of words: tired. It is like the vocals and instrument lack that little shim and power. Mojo felt like the performer who just arrived on stage full of energy while the other devices felt like the energy has all been used up and winding down.
Then there is the effortless of the sound. No matter what you throw at it, no sound in the spectrum will feel like its catching up or lacking in energy. This also makes the sound more realistic to me, similar to a live performance.
The other really notable sound quality which I would point out is how realistic the highs are yet never feeling harsh. The cymbals, bells and strings all felt really natural, especially in this tracks of distant worlds, no matter how much the bass or number of instruments, the highs will always be notable yet never distorted in any form.
Lastly the bass of this device is quick, punchy but without the feeling of emphasis. If the songs have little bass, like those from Suara, they felt well balanced in the background as support elements. But in Gate, a mid bass heavy track, its quick, punchy yet never bleeds into the vocals or mask the highs.
The only complain if I really want to squeeze one out about the sound is it sounds “Matter of Fact”. The output of the device just sound right, but sometimes this can get boring and this is where amping comes in. By default, Mojo vocals in most track felt well centered with good mass, running it through the WA22, the vocals spread out a little more and in general more soothing. Between raw or amped in this case is more of a preference. The CDM however shows some interesting improvement which I will cover in the next section.
Drive and Matching
On its own, the Mojo is really powerful. I do not think any headphone will have insufficient volume or authority. Everything I thrown at it sounds great. It may not be the absolute best of each headphone, but definitely no complains and enjoyable. Even with the harder ones like LCD2, it sounds perfectly fine.
However to put it at its best, to me a ALO CDM acting as its amp, sublime. It actually adds even more energy to the sound, providing a touch more air especially in the vocals and highs. Euphoric sounding, it may just be the best stack that can fit into a bag.
Of all the audio gear I purchased, I rate this the best value product. It sounds great, small enough and could be used by itself perfectly fine. At a sub S$1000 price, it beats DAC/DAPS twice or even triple its price. I really can’t think of a source device that provides more value based on the performance it provides.
In conclusion, Mojo to me is Magic in the pocket. A worthwhile purchase for any audiophile who wants the best without paying a king’s ransom.
Recently I went back to my audio hobby which started way before even my photography days. Did a few new purchases and recently got my hand on a ALO Continental Dual Mono.
Pictured here with my Sony ZX2, this amp is both a looker and sounds really great. Makes the headphones I have for the last 8 years sound greater then they ever had. Gives a warm, smooth sound with great clarity but nice bass slam.
The glowing tubes make for great photography subject. Will probably go around doing a review for it together with my recent audio gears and even more pictures.
This review is the second part of my Profoto Review. Previously I covered the B1 here and this time I will touch on the Profoto B2 250w Off Camera Flash. The B2 is a pack and head system consisting of a generator and up to 2 heads connected to it. The B2 as per it’s description, is a 250w strobe. That is half of the B1 but in practical terms, it is equivalent to step 9 out of 10 on its bigger brother. Other then the power, it retains most of its bigger brother’s traits: TTL, HSS, fast flash duration with multi-shot and built in wireless receiver.
The B2 however has quite some difference between it and its brother. Weighing in less then 3kg with a single head, it is a lot more portable. It is also smaller, a full set taking up similar volume as the B1 without the battery.
One of the useful feature is the ability to plug two heads into it and running them asymmetry. This means that both outlets could be of any power stepping as long as they add up to 250w. Ratios tested are: 9.0-9.0 , 8.0-9.6 , 7.0-9.8 . This is really great since one could be a main light running at 2 stops above the other which acts as a fill resulting in little lost of usable light out of system. One thing to note is HSS as similar to B1 requires a minimum of power 7 and above. It does work in asymmetry so you can use the above ratios as long as both are above 7. An additional notable thing regarding power is the knobs that set them. In the B1, its a linear knob of 0.1 with a down press and turn for a greater jump. On the B2, its based on the speed of the turn: Faster results in greater jumps while slow turns will be for fine tuning. A little flick could be 3-4 stop jump or 0.1-0.5 depending on the speed.
The B2 heads come with modelling lights. I never went around testing the exact output but by specification they have similar output to the B1 per head. However one of the ability lost is to vary the modelling light on the B2 which is only on or off.
A really interesting small improvements in the B2 is the battery. The battery is smaller then the B1s and like it comes with a test light. However this time on pressing it once holds the light for a few second to let the users see its power level. It is also a whole lot brighter and in green for easy identification.
If you own any Profoto mods, the B2 is a good fit into your system. The heads accept all mods the B1 could. The only thing lost is the ability to zoom as the heads are rather short.
With all the above, how does the B2 perform out-field? It is technically a B1 in a pack and head system with just a touch less power. Everything great about the B1 is in the B2 and now in a lighter and easier to manage package. Some will say isn’t it a step backwards with the cables and all, but when you need to Boom in the open, B2 is really the saver here.
Taken outdoor, the B2 acts as the main light on the boom and fill light at the bottom in a clamp shell setup. The generator acts as the counter weight similar to such systems. The back light in this picture is a B1 with a zoom reflector.
The pictures taken from the B2 is as good as the B1 with the added portability. Below are shots taken with the B2 as Key Light. In most situation, its also running on HSS with a second head acting as a fill.
The B2 did had some issues when I first purchase.
The first generator was faulty. It just did not work after a few pops. The distributor did a great job and replaced it promptly.
The knobs on the generator needs to be redesigned. It catches small particles like sand or dirt and becomes jammed/hard to turn. Both my knobs could no longer rotate more then 180 degree without requiring significant amount of effort. The distributor offered to fix it but I have yet the time to do it.
One last comment about the B2. It comes with a great carrier that could be sling or hooked to a stand easily acting like a sand bag. This is much more useful then the case of the B1 which is more like a shoe carrier.
The B2 is a really great system. If not for the cost, I would have recommended it to anyone who needs a outdoor system with HSS and consistent lighting.
This ends my B2 review. Do remember to visit my B1 review here for more of the performance aspect such as TTL and HSS.