HIDIZS MS3 And MP145 Review (2) – Fun Fun Fun Till Her Daddy Takes The Crackpipe Away
Hidizs MS3
Very V-shaped, hard-rockin ear cannons from DAP/dongle specialist Hidizs. Build and aesthetics are commensurate with the MSRP and cable is very well-made, if somewhat heavy. I found these slightly uncomfortable, esp. since they require deep penetration to show their true colors, but isolation is very good.
Even with the “Balanced” or “High Frequency” tuning filter, the MS3 is a very hopped-up, bassy phone with a thick, throbbing but musical low end which does have some bleed into the higher frequencies. (Avoid the “Low Frequency” filter, which sounds boomy and blurs high end detail). Treble is well extended and full-bodied and (despite the low end bloom) instruments are very well separated across a wide, deep soundstage.
My reservations about the MS3 are twofold. First, percussion (esp. snares and hi-hats) sounds splashy and unnatural. Second, integration between the frequencies is less than seamless—the big low end tends to dominate the proceedings and to deflect focus on the vocals.
To a large extent, the MS3 typify the sonic differences between hybrid and conventional DD designs—compared to a comparably priced DD like the Whizzer Kylin or Moondrop Kanas Pro the MS3’s BAs present more microdetails and sparkle and more accurate imaging , but have a more synthetic timbre and less coherence.
Its imperfections notwithstanding, these are an exciting, immersive listen which make heavy music sound heavy. Hidizs is promoting these at a $119 introductory price, which registers as good value. Recommended, if not unqualifiedly.
Hidizs MP145
Priced in the same range as the MS3, the planar MP145 is a completely different beast sonically—midforward and conspicuously lacking in subbass depth and speed. Large ovoid provide for good seal and isolation but feel uncomfortable after an hour or so. In contrast to the frenzied, party-hearty and brightish MS3, the MP145 seem to be going for a more neutral, laid-back quality, without a lot of sparkle or shimmer at the high end.
Mids are very well-resolved here—male vocals sound full and quite natural, and there’s sufficient high-end detail, with much more accurate reproduction of drums and percussion than on the MS3. However, lowend is, for lack of a better term, amorphous—it’s discernible but wholly lacking shape, speed or punch and has the effect of murking up the the rest of the spectrum.
I’m not sure what Hidizs was aiming for with the MP145—they’re too reserved for uptempo genres and not clean or open-sounding enough for acoustic or vocal fare. Frankly, these should not have escaped the lab.
Disclaimer
Borrowed from Durwood.
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